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FILM TREATMENT 


KIT NO. 5 


Title: 

MOTIVATING THE ELEMENTARY LEARNER 

Writer: 

Morye D. Benjamin 


Project Title: A Pilot Series of Six Kits of Filmed and Published Materials 

Illustrating Proper Teacher Utilization of Broadcast Materials 

Project Director: Dr. Clair R c Tetfemer 

The dissemination activities reported herein performed 
pursuant to a contract with the United States Office 
of Education 

© 1963 by National Association of Educational Broadcasters 
Washington, Do C. 20036 




Treatment for Kit No. 5 


The Story of the Film 

We fade up on a television receiver.. .which dominates the screen. „ .as there is heard 
the music of “Getting to Know You." A voice (presumably that of the TV) is heard sing¬ 
ing the words (first part of the chorus).. .ending with “getting to let you know me." 

TELEVISION: Isn't that friendly? And that's what we're here for, of course. 

Particularly that last part. Getting to let you know me. 

Which, ideally, calls for somebody to introduce us. But that 
brings up the same only familiar problem. Who ? 

First we consider the authority figure. 

On the screen we see the distilled essence of every television authority figure.. .book- 
lined study.. .paper piled desk, etc. 

TELEVISION: The man whose reputation has rendered him a monument in his own 

lifetime.. .whose image rises before you, not as a person, but as 
a title page.. .or a calf binding. The expert in the field. • .who 
has written so many books, articles, and monographs that you 
think of his first name as “By...." 

The camera is scanning the impressive array of his writings on the desk or close by. 

TELEVISION: The beauty of this man is that he knows. And everybody knows 

that he knows. But can he share that knowledge. 

Unfortunately, not always. 


Treatment for Kit No. 5 


page two 


The “authority on screen" acts out the descriptions.. .as television's voice continues: 


TELEVISION: 

His brain is aflame, but his palms may be clammy. 

His concepts are fluid, but his mouth is dry. 

In touch with the great intellects of the centuries, he's a little 

short on eye-to-eye contact. And though he is at one with the 

pulsations of the universe... he does have this rather distracting 

tic in his left cheek.. dower quadrant. 


Better to get an actor, perhaps. 


The "authority" is replaced with an "authority surrogate." Suave, handsome, finished, 
smooth. A bit of "dash" in the performance. 


TELEVISION: 

A performer of artistry and presence. A quick study who can 

master the lingo and the tricks of the trade.. .who can grip the 

lectern with authority.. .handle the graphics with a professional 

flourish.. .move with ease and style.. .speak with precision and 

pace. 


But this presenter has his drawbacks, too.. .as you can tell from 

a quick look at the front row. •. 


We cut quickly to two viewers.. .wtaching the screen. 


Treatment for Kit No. 5 


page three 


VIEWER 1: Who*s he? What does he know about it? 

VIEWER 2: YouVe got me. I never heard of him. 

Back to the television receiver. The actor is removed summarily, to be replaced by a 
cartoon face (representing the character of the television receiver itself) filling the 
screen. 

TELEVISION: Faced with this common dilemma in the selection of an on-screen 

personality.have decided to introduce myself. 

(BIG AND VERY TAKEN WITH HIMSELF) I cm television! 
Unique instrument... incomparable presenter.. .master teacher. 

As one of the electronic marvels of this age of technology... 

8 can.o•. 

The voice cuts off in mid-sentence and the screen goes blank. We cut to the Narrator, 
who obviously has just turned off the TV set, and who finishes the sentence: 

NARRATOR: .. .be turned off by pushing a button, turning a knob, or pulling 

a plug. 

Television is a unique instrument. If you want to wax lyrical, 
you can cal! it one of the electronic marvels of this age of 
technology. But it cannot call itself that. And for a perfectly 
good reason. Do you know what that is? 



Treatment for Kit No. 5 


page four 


NARRATOR: Exactly, Television itself,, .of itself.. .by itseif,. .cannot talk. 

The voice you heard belonged to that man over there.. .with the 
microphone. • • 

The Narrator indicates and the camera picks up a man with a mike. 

NARRATOR: The face you saw was picked up by a camera from this card rack. 

He lifts the card with the cartooned face from the rack.. .or shows it to us on the rack. 

NARRATOR: The voice and the face came to us through this channel. For that's 

what it is.. .and that's all it is. A purveyor of sounds and sights 
which originate outside this box. Television cannot introduce 
itself. It cannot hear. It cannot feel. It cannot think. I want 
you to remember that. And I want you to remember something else. 
Something very important in your relationship to this device in 
the classroom. Television, itseif, cannot teach... though it 
may be used as a channel for teaching. And television cannot 
learn., .though it may be used as a resource or instrument to 
motivate, to stimulate, to facilitate learning. 

Why am I being so insistent about this? Because all too often... 
when television appears in the classroom... 

Suddenly the television receiver is in a classroom. 


Treatment for Kit No. 5 


page five 


NARRATOR: (VO) When this child... 

We see a child in the classroom.,. 

NARRATOR: ... confronts this screen.... 

We see the television receiver.. •. 

NARRATOR: There is a feeling that.. .authomatically.. .by some special 

magic.. • learning takes place. 

Now.. .what if... instead of television.. .we have a textbook? 

The television receiver disappears.. .and in its place we see a textbook. 

NARRATOR: What if... instead of the textbook.. .we have a radio? 

The textbook disappears.. .and in its place we see a radio. 

NARRATOR: What if...instead of radio.. .we have a film projector? 

The radio disappears.. .and a film projector replaces it. Then open scene. 

NARRATOR: Does the magic work then? Can we count on automatic learning 

because the child is fa ce to face with the instruments of learning? 

Teachers know the answer to that, don't they? 

They know that there's nothing automatic about learning under 
any circumstances.. .that merely confronting a child with this 


resource.... 


Treatment for Kit No, 5 


page six 


We see the film projector, ... 

NARRATOR: Or this resource.... 

We see the radio,... 

NARRAT OR: Or this resource, • • 

We see the textbook.... 

NARRAT OR: Or even this resource.,. • 

We see the teacher.,.Then, as Narrator continues, we get the classroom.... 

NARRATOR: ...is not enough. What is enough? Well, that depends, 

doesn*t It? On a good many things. 

Here we are going to explore the faces in the classroom. 

NARRATOR: What do we want each of these children to leam? Is he ready to 

learn it? What are the best ways to grip his attention.. .alert 
his interest.. .enkindle in him the urge and the will to learn... 
give him the materials, tangible or intangible, that he needs? 
What are the most effective ways to clarify or extend what each 
has seen and heard and felt? To make firmer and surer the steps 
each is taking toward learning? 


Treatment for Kit No. 5 


page seven 


NARRATOR: Good teachers.. .by experience.. .or example...know many ways 

to do these things, don’t they? 

All of you, I’m sure, are familiar with these activities. 


Here we have short classroom scenes of: 


(1) FACT GIVING- 

(2) DRILL- 

(3) PROBLEM SOLVING - 

(4) DEMONSTRATION - 


(5) EXPERIMENTATION - 


How primitive man provides shelter from the elements. 
Trees, caves, thatch huts, sod houses, timber dwellings, 
igloos, teepees. 

Foreign language - perhaps a discussion of the weather. 
Teacher describes a locale. Each pupil is to decide, 
from its place, its temperature, and its natural materials, 
how he would build his house if he lived there. 

Science - perhaps ’’Wind: Moving Man for Mr. Weather”- 
using pan of water for atmosphere...demonstrating with 
rotation, heat, and coloring matter the patterns of move¬ 
ment in the atmosphere.. .and why they occur. 

How we keep warm. How we keep cool. Materials 
that conduct heat and cold. What materials or 
situations provide best insulation, etc. 


The Narrator walks into the classroom where last scene took place. 


Treatment for Kit No* 5 


page eight 


NARRATOR: 

How many times you've used these activities in your classroom... 

or seen them used in other classrooms.* Fact giving.. .drill 

problem solving. • .demonstration.. .experimentation. Choosing 

the method which would do best what you wanted to do. Making 

the special plans necessary to the approach you had in mind. Yes, 

teachers know many methods of teaching. 


But television, itself.. .of itself.. .by itself...knows none. 

So if it is to be used in the classroom... 


A television receiver appears in the classroom. 

NARRATOR: If it is to be...how did that extravagant introduction go? 

He turns on the television receiver. We see the card-rack face on screen and hear the 
voice: 


TELEVISION: 

1 am television! Unique instrument... incomparable presenter. •. 

master teacher.. • 

NARRATOR: 

Yes. Well.. .if it is to be what it claims.. .or what some people 

claim for it.. .good teachers.. .familiar with the principles of 

learning.. .skilled in the methods of the classroom.. .must make 


* I'm trying to keep from identifying the viewer with the experienced classroom teacher 
completely, as viewers will also include teachers in training, beginning teachers, 
administrators, etc. 



Treatment for Kit No. 5 


page nine 


NARRATOR: 

it so. Good teachers in the classroom. Good teachers in the 

television studio. Working together as a team. 


Teachers who ask television not: 


The classroom teacher approaches the television receiver.. .speaks to it. 


C. TEACHER: 

What can you do? 

NARRATOR: 

But rather...• 


Studio teacher appears on screen and speaks. 


TV TEACHER: 

What can we do with you to accomplish our mutual purposes? 

NARRATOR: 

For television, you see, is "geared” to any of these methods you 

know so well.... 

TV TEACHER: 

We use ail of them in television lessons. 

C. TEACHER: 

And we use them, too, in the classroom, for introduction of the 

television lesson...for follow-through after the lesson. 

We see both teachers. 

.. in a pose which suggests friendly cooperation. 

NARRATOR: 

Planning the use of television in the classroom, then, is a matter 

of "teaming up" to decide what is to be accomplished and who is 

to play what part toward this accomplishment. 


Treatment for Kit No. 5 


page ten 


NARRATOR: First, of course, there must be a shared understanding of the 

purpose of the television series as a whole. 

is it to carry a major and consistent part of the teaching responsi¬ 
bility? 

The television set changes info a loaf of bread. 

NARRATOR: Is it to be used more sparingly.. .to supplement and enrich the 

regular course of Instruction in the classroom? 

The loaf of bread changes Into a cake. 

NARRATOR: The answer to this will affect its use . 

We come out of the cake to show it in cut-out form, as part of an exhibit the Narrator 
is constructing on a magnetic board or flannel board. We see now the loaf of bread and 
the cake. 

NARRATOR: Then, since all teaching is concerned basically with two factors... 

content and students.. .we must decide who will have the primary 
responsibility for which. 

Now, content..• 

He displays a cuf-out of a chest or box. 

NARRATOR: .. .we could assume in most cases can be handled ably by either 


teacher. 


Treatment for Kit No 0 5 


page eleven 


NARRATOR: But what about students? 

He puts down the chest and picks up some student cut-outs* 


NARRATOR: 

Who knows the students best.. .as a group.. .as individuals in 

that group? Who knows their differences... their strengths and 

weaknesses? Who is on hand to observe these students.. .to see 

which concepts of the television lesson should be supplemented, 

impressed, fortified.. .to work with the students toward these ends? 

What do you think? 


Do you agree we might say that the students are the particular 

responsibility of the classroom teacher? 


He puts into the exhibit the figure of the classroom teacher or a label ("Classroom Teacher") 
with the students grouped under it. 


NARRATOR: 

And might we say, then, that the television teacher. ..in the 

television lesson...has the special responsibility to deal with 

content...to present information.. .pose problems.. .open new vistas? 


He puts into the exhibit the figure of or a label for "Television Teacher" (or "Studio 
Teacher" or "On-Camera Teacher" or "On-Screen Teacher")...with the content chest 


under that. 


Treatment for Kit No. 5 


page twelve 


NARRATOR: So here we have a fair and workable division of team effort.». 

with each teacher "specializing" in a particular aspect of the 
shared responsibility. 

The television teacher will be "manager of presentation." The 
classroom teacher, with the help of television, will now be more 
completely "manager of the learning situation." 

And they will work together to use television effectively in 
accomplishing their mutual purposes. 

How will they know what these purposes are? How can they be 
sure they are working with the same intent.. .toward the same goals? 

Here is how they will know. 

He puts a cut-out of the "Teacher's Guide" between the two teacher symbols on the 
exhibit board. Camera closes in on this cut-out...does a match dissolve to a real 
"Teacher's Guide".. .which is opened on-screen.. .on cue.. .as the Narrator speaks. 

NARRATOR: This is the "Teacher's Guide".. .the "core of communication" 

between the two specialists of this important team. It will 
describe, for the classroom teacher, the framework within which 
the television teacher works.. .not only the objective of the 
individual lesson.. .but the sequence of development from 
lesson to lesson.. .and the approach to the series as a whole. 


Treatment for Kit No. 5 


page thirteen 


We have puiied back to show the television teacher, with the Guide open, and as 
this teacher replaces the Narrator on screen, she (or he) reads from the Guide: 

TV TEACHER: (READS) Memorization of subject matter and mastery of un¬ 

related facts does not seem to be the appropriate way to 
grasp broad understandings of subjects. This is true in almost 
all subject areas and especially in the sciences. Science is 
constantly changing as new phenomena are observed and dis¬ 
covered, but it is characterized by having a few basic generali¬ 
zations which compose the structure of science. These generali¬ 
zations do not exist as isolated vertical threads within a single 
area of science. They are horizontal generalizations which 
extend across all scientific endeavor. 

The system of using generalizations to teach broad concepts 
has implications for you, for the television teacher, and for your 
students in the following ways: 

1. It will provide the basic approach toward the under¬ 
standing of science that the television teacher will 
follow in the presentation of the televised lesson. 

2. It will provide you with some insight into the basic 
approach that will be used by the television teacher. 


Treatment for Kit No * 5 


page fourteen 


and wih supply a base upon which classroom activities 
can be arranged to correlate the telecast with classwork. 

3o It will provide the student with the framework into which 
scientific data may be placed in order to "organize" 
understanding of the nature of science. 

A working knowledge of the following seven generalizations will 
establish more effective communications between you and the 
television teacher. Please read them carefully. 

The camera starts on down the page. • .through PREMISE AND GENERALIZATION 1.. • 
moves slowly enough for us to read part of that.. .moves more swiftly simply to provide 
transition.. .and slows down for us to read: 

"PREMISE: Few things exist in isolation. One regularity in nature is the 

constant interaction of living and non-living things. 
GENERALIZATION 4: Interactions of things represent interdependence." 

We see the pages being turned.. .and then we stop on a page which reads... (as the camera 
focuses on this part of the page) 

Investigation No. 18 

TELECAST OBJECTIVE: The television teacher will introduce the Life 

Sciences by exploring the living things around us and noting changes 
occuring in these things due to environment. (GENERALIZATION 4.)” 


Treatment for Kit No. 5 


page fifteen 


As we read this, we hear the classroom teacher's voice reading it, and the scene opens 
to reveal the classroom teacher.. .Guide in hand. The teacher is at her desk, studying 
the Guide.. .making notes. 

The Narrator points out that there is more to beginning the use of a television lesson 
than adjusting the blinds and turning on the set. Suppose you, as a classroom teacher, 
are making ready for such a lesson. Is the communication between you and the tele¬ 
vision teacher complete? Did you acquaint yourself with the lesson plan sent out by the 
television teacher? 

Then you know that the teacher is going to explore the living things around us and 
note changes occurring in these things due to environment. What could you do as an 
introduction? Let's look at a few minutes of such a lesson.. .and you decide what you 
could have done. 

We see a portion of the television lesson.. .and then come back to the Narrator. 

"What could you have done to introduce this television lesson?" asks the Narrator. 
That depends on your purpose, doesn't it, he asks. And what was that purpose? We 
might have a recap look at the premise and the generalization. With that in mind, 
perhaps, says the Narrator, you could have done some of these things. 

We see on screen a bulletin board display.. .headed: "What's Wrong with This 
Picture?" It shows, let's say, a giraffe on a treeless plain.• .an elephant in ice- 
covered mountains. • .a hairless chihuahua in Alaska, a "husky" in some tropical 
country., .a monkey in low river-brush country. • .a stag with many antlers in the jungle.• 
a water It ly in the desert.• .a cactus in a swamp.. .an orchid by a frozen stream. 


Treatment for Kit No. 5 


page sixteen 


We see on screen a table set up to show examples of animate and inanimate objects.. 
with these labels visible. Above the table, perhaps, is a chart, listing characteristics of 
living things.. .characteristics of non-living things. 

We see on screen some drawings of plants and animals which the students have at 
home.. .arranged under symbols of the seasons., .to show how seasonal changes affect 
them. 

We see a vocabulary drill ...on animate, inanimate, life cycle, environment, 
habitat, characteristics, plants, animals, adapt, seasonal. 

We might see children pretending to be a stone, a tree, a flower, a log, a bear, 
a bee, a chair, etc. and explaining what characteristics they are showing. Or we 
might see them engaged in a guessing game, in which each has pinned to his back a 
sign showing what he is, and others must ask questions until they guess. 

Yes, says the Narrator, you could have done any of these things as an introduction 
to the lesson. Or you could have done a good many others, which you have thought 
of yourself. Just as you would have used such activities to introduce a lesson in the 
textbook*. .or to prepare your students for a radio broadcast or a film. You would have 
planned activities to whet their appetites, to give them a foundation, some stepping 
stones of understanding, to insure readiness for what they are about to experience. 

And during the lesson? While the television teacher is presenting the lesson 
content.. .what could you do.. .as manager of the learning situation? 

The Narrator says that although this depends in part, of course, on what kind of 
lesson it is and what is taking place on screen, there are some underlying precepts. 




Treatment for Kit No. 5 


page seventeen 


If heeded, these can add a great deal to the value of the television lesson. If not 
heeded.. .well. ..we'll use some classroom teachers to show you what we mean: 

NARRATOR: The classroom teacher, as manager of the learning situation, 

needs to be active in a positive fashion during the television 
lesson. 

His attitude toward the television lesson determines the attitudes 
of the students. 

We are going to see Miss A. in the classroom.. .acting out the role described in the 
verse. While she is engrossed in her own little activities, we are going to watch the 
students. • .emulating her example.. .not paying attention to the television lesson... 
engrossed in little side activities of their own. 

FEMALE VOICE: It's very important what you do... 

As students take their cue from you. 

For instance.... 

Miss A. takes this as her recess... 

She makes a sketch of her wedding dress... 

Or grades a paper... repairs a nail • •. 

Catches up on neglected mail.•. 

This lovely respite. • .while pupils view... 

Is grand for a girl with things to do! 


Treatment for Kit No. 5 


page eighteen 


FEMALE VOICE: 

But she sometimes wonders if TV teaching 

Is over-rated. It isn't reaching 

Her students. At least, they can't recall 

What took place on the screen at all! 


Now we are going to see Mr. B. . 0 .whose attitude is most exemplary. 


MALE VOICE: 

A better example is Mr. B. 

He respects the lesson they're soon to see... 

Is eager and ready.. .alert to view.., 

And all of his pupils are eager, tool 

They listen. They look. And 1 think it's clear 

Why TV lessons work fine in herel 

NARRATOR: 

The teacher needs to set the example for response, and other 

activities suggested by the television teacher. The classroom 

teacher should not just sit down at the back of the class.. • 

but should lead.. .help.. .observe.•. 


We are going to observe Miss C. in class.. .going about these activities as she should. 


FEMALE VOICE: 

Like Miss C. here... 


She leads the answers when teacher asks. • • 

Helps some pupils with viewing tasks.. • • 

Unobtrusively shares her skills 


Treatment for Kit No* 5 


page nineteen 


FEMALE VOICE: In participation, responses, drills*,. 

Observes the viewers for trouble cues. •. 

Watches for spots that may confuse... 

Notes the concepts that need extension. 

Miss C. is in charge of INTERACTION... 

But the teacher on screen is the chief ATTRACTION... 

We are now going to watch Mr. D. in the classroom.. .doing heedless, thoughtless, 
distracting things. He shouldn't be over-caricatured, but should act out the class¬ 
room teacher more concerned with his own activities than with quietly helping the 
students get more from the television lesson. He leans across in front of other students 
to reach for the paper of the student having trouble.. .moves a student so he can sit 
next to the one needing help.. .makes big, attention-getting gestures to single out 
and quiet noisy students, etc. 

MALE VOICE: A factor forgotten by Mr. D. 

"YouVe having trouble? Here... let me see I ? 

"Can you move over? I need your chairl" 

"You people stop giggling over therel" 

Did he think to put on an outside row 
Pdpils who might need help? Oh, no I. • 

In and out and around the aisles... 

He bumbles his heedless, needless miles... 

Obscuring sight and obscuring sounds.. • 


Treatment for Kit No. 5 page twenty 

MALE VOICE: Making his noisy, distracting rounds... 

Taking the stage while he steals the scene 
From the luckless presenter on the screen. 

When a "helpmeet" like this is on his feet... 

CONTENT can have the whole BACK SEAT I 


Narrator says that we don't want the television teacher to take a hack seat, either... 
for the television lesson, like the textbook, presents certain information about which 
call the students should be aware...certain facts, certain methods, certain ideas which 
all the students should have in common. What is done after the reading of the textbook 
material is determined by the needs and interests of this particular class and its indivi¬ 
dual members. Basically, the same procedure applies to the television lesson, and 
generally speaking, says the Narrator, no television lesson should be used without 
some form of follow-through., .just as it should not be used without some form of introduction. 

Now, what could you do, he asks the viewers, to follow-through on the condepts 
presented in the television lesson? You have all sorts of methods at your command, 
he tells them.. .methods you have used frequently.. .some immediate.. .some long-term. 

For pupils with an evident problem, you may want to try more reading..,in the 
textbook or other references. 

He may use hand-props to demonstrate these things, or he may want to use art to 
show these activities taking place. 

Perhaps you have or know of some good films to clarify or extend certain points 


in the television lesson. 


Treatment for Kit No. 5 


page twenty one 


You may want to drill the students on additional vocabulary words in connection 
with additional related concepts to be investigated: words like dormant, hibernate, 
species . 

You may want to ask questions about the lesson, to see where points of confusion 
lie. Or you may want to invite questions from the pupils on points they did not fully 
understand. 

You may, he continues, want to help the students enlist special talents or pursue 
special interests with some of these activities: 

Here we will show short scenes of activities suggested, as outlined: 

(1) Begin an interest center with objects of pictures of how animals adapt 
to their environment. For example: pictures of the snowshoe rabbit or 
a mud dauber's nest, 

(2) Make a list of those things necessary for both plants and animals to live. 

0) Explore the matter of extinct animals to find out what animals are 

extinct or nearly so and why. 

(4) Make an exhibit showing what happens when a plant is doimant.. .when 
an animal hibernates. 

(5) Ask members of the class to collect poems about plants or animals. Then 
ask interested members to list characteristics of the plants or animals as 
they appear in poems. How do these compare with the characteristics a 
scientist would describe? 


or 





Treaftnent for Kit No c 5 


page twenty two 


(5) Ask members of the class to find stories about animals in the library or 
at homeo. .to report on these stories and the characteristics they reveal. 
Are these the some characteristics that a scientist would report? 


NARRATOR: 

These are only a few of the many activities which you could 

use to follow through on the concepts introduced in the television 

lesson. Which you will use.. .of these.. .or other activities.. .depends 

primarly upon what it is that you want to do. You may be con¬ 
cerned with teaching certain knowledges. Then you would use 

the television lesson in one way. Certain skills. You might use 

it in a different way. Attitudes.. .values, .understandings. •. 

appreciations. These all suggest methods which you have used 

many times.. .when you had these objectives in mind. 


Remember. • .you are the manager of the learning situation in 

your classroom. With the television teacher to help you.. .by 

assuming part of the responsibility for content presentation. „.. 


We see the on-screen teacher in the process of presenting the television lesson.... 


NARRATOR: 

You are even more completely the manager of the learning 

situation. So don't Set this "unique instrument" fool you... 


We see on screen the card-rack face.. .hear the microphone voice. 


Treatment for Kit No. 5 


page twenty three 


TELEVISION: I am television! Master teacher I 

NARRATOR: It is no such thing. If is a channel for the use of teachers.... 

The on-screen teacher, in the lesson, reappears. 

Camera begins slowly to pull back to incorporate television lesson in classroom scene. 
Then, as Narrator continues, if will begin to move in on the face of one child.. • 

NARRATOR: You in the classroom... .your "team mates" in the television 

studio. It can be used in whatever way you teachers deem best 
to get at the one goal we ail share.. .toward which all educa¬ 
tional resources are employed.... 

We are in close on the face of a child in the classroom...and when the Narrator hits 
the curtain word, the camera gives us a close-up of the child’s eyes.. .with the 
television screen reflected in them. 

NARRATOR: Learning l 


Credit^ 


FILM TREATMENT REVISION 
FOLLOWING SEPTEMBER MEETING 
OF PROJECT COMMITTEE 

October 27, 1963 


SERIES TITLES “UTILIZING TELEVISION IN THE CLASSROOM" 


THIS FILM: KIT NO. 5 

"GLUE TO MAKE IT STICK* (The Elementary Teacher and 

the Television Lesson)" 


Writer: (Mrs.) Marye D. Benjamin 


Project Title: A Pilot Series of Six Kits of Filmed and 

Published Materials Illustrating Proper Teacher 
Utilization of Broadcast Materials 


Project Director: Dr. Clair R. Tettemer 


The dissemination activities reported herein performed 
pursuant to a contract with the United States Office of 
Education. 


(£) 1963 by National Association of Educational Broadcasters 
Washington, D. C. 






KIT NOo 5: "GLUE TO MAKE IT STICKS (The Elementary Teacher and 

the Television Lesson)" 


GENERAL STATEMENT OF THE FILM: 

Good elementary classroom teachers should USE television lessons, 
not just FOLLOW them. We cannot count on automatic learning just 
because the child is face-to-face with an instrument of learning or 
just because he has witnessed a commendable presentation. Tele¬ 
vision, like any other instrument, can bring the lesson and the child 
together. The classroom teacher must apply the glue which makes the 
lesson stick! 

It is not enough for the classroom teacher to be "an echo" or a 
"caboose" simply parroting or re-teaching the Lesson content. As 
manager of the learning situation, the classroom teacher has the 
primary responsibility for clarifying, extending, reinforcing the 
concepts involved. 

The television lesson can be "geared" to any of the many methods 
which teachers know so well; so can the preparation for the tele¬ 
vision lesson and the follow-through. 

How each teacher in the classroom makes his or her glue, then, 
depends upon what is to be accomplished, what objectives the teacher 
has in mind, what kind of learning is sought (skills, knowledges, 
attitudes, values, understandings, and/or appreciations.) It depends 
upon the purpose of the television series as a whole, the purpose of 
this specific lesson (as specified in the Teacher's Guide), and 
this teacher's own purposes in using the lesson. 

And it depends, in important measure, upon this particular teacher's 
personal "glue" recipe...compounded of the teacher’s special touch 
and personality, the teacher’s own skills and strengths, the available 
resources, the procedures which have proved effective in personal 
experience, the activities geared to the abilities, interests, and 
needs of a particular class or even to particular pupils within the 
class. 

The film will show one particular teacher U3ing a particular tele¬ 
vision lesson with a particular elementary class, to indicate some 
of the activities and procedures to be coordinated with the tele¬ 
vision lesson in preparation and follow-through, toward providing an 
effective learning experience. The film will suggest other activities 
which could have been used, and will suggest that the viewing teachers 
probab3.y will think of others, equally or more effective for them 
and their own pupils. 


OUTLINE OF CONTENT; 


I. Narrator introduces topic 


s 30 








OUTLINE OP CONTENT (CONTINUED) - Page 2 

IX• Teacher introduces lesson and demon¬ 
strates preparation for television 



lesson 

5:00 

5:30 

III. 

Television lesson (excerpt) 

7:00 

12:30 

IV. 

Follow-through (immediate) 

10:00 

22:30 

V. 

Follow-through (long-range) 
and suggest other possibilities 

5:30 

28:00 


VI. Narrators Conclusion 


Notes The lesson to be used likely will be the Grade Pour Science 
lesson from Kit No. 3, as viewers already familiar with 
lesson content, and more time, therefore, can be devoted 
to utilization procedures. 


TREATMENT FOR KIT NO, 5 

"GLUE TO MAKE IT STICK! (The Elementary Teacher and the Television 

Lesson)“ Page 1 


(NOTE; This treatment will be only "skeletal " 0 as the Project 

Committee felt that a comprehensive and detailed account 
of the utilization must await the choice of a good class¬ 
room teacher as a production consultant, and his or her 
plans for utilizing a specific television lesson in his 
or her specific classroom situation. 

The Committee suggested also that the film for the elementary 
classroom teachers might well portray utilization of the 
television lesson treated in Kit No. 3, where we showed the 
preparation of the lesson for the classroom. It is, if you 
remember, a science lesson on "Oceanss Dividers of the 
Continents" for the fourth grade.) 


VIDEO AUDIO 


By animation or using a 
toy train in limbo...a 
train chugs across the 
screen...a caboose bringing 
up the rear (what else/? 


(NARRATOR) That is a caboose. 


The train doubles back onto 
the screen and heads off 
screen in left center bg 


(SOUND: WE HEAR THE WHISTLE OF THE 

TRAIN AND IN THE DISTANCE AN 
ECHO OF THE TRAIN WHISTLE.) 


(NARRATOR) And that is an echo. 
Neither of these is a good model for 


the elementary teacher who uses tele¬ 
vision in the classroom. 


A bottle of glue suddenly But this is! 
appears in the foreground. 

Lights brought up to reveal 

Narrator holding the bottle It represents the valuable role of the 
of glue. 

classroom teacher where television 


lessons are part of the learning 


process. 



TREATMENT FOR KIT NO* 5 

"GLUE: TO MAKE IT STICK! (The Elementary Teacher and the Television 

Lesson)" Page 2 


VIDEO 


AUDIO 


(NARRATOR) Television can bring the 
child and the lesson together. But 
there it stops. 


The classroom teacher must apply the 
glue to make that lesson stick 1 


How is this done and what kind of glue 
is best? 


(Suggest that if "Oceans" 

program is used, with Let’s watch a skillful teacher at work., 

female teacher on screen, 

effort made to use male see what kind of glue he uses...and 

classroom teacher) 

what he does to make a particular 
science lesson stick in the minds of 
his fourth grade pupils... 


Transition from Narrator 
to Teacher. May find 
Teacher at desk, studying 
Teacher's Guide, making 
notes. 


TEACHER EXPLAINS THAT USING TELEVISION 
IN THE CLASSROOM IS NOT BASICALLY DIF¬ 
FERENT FROM USING ANY OTHER INSTRUMENT 
OF LEARNING. WHAT YOU DO WITH IT 
DEPENDS UPON YOUR PURPOSE AND WHAT YOU 
WANT TO ACCOMPLISH. 


OF THE MANY TEACHING METHODS FAMILIAR 
TO YOU (THE VIEWERS) AND TO ME, SAYS 
THE TEACHER, ANY ONE MAY BE USED IN 
THE TELEVISION LESSON, IN THE CLASS¬ 
ROOM INTRODUCTION TO THE TELEVISION 
LESSON, OR IN THE CLASSROOM FOLLOW- 
THROUGH. 

CONSEQUENTLY, SAYS THE TEACHER, IN USING 
THIS LESSON IN MY CLASSROOM, I'M FREE 
TO CHOOSE WHATEVER METHOD OR METHODS I 
THINK WILL FIT BEST AND WORK BEST. 



TREATMENT FOR KIT NO. 5 

"GLUE TO MAKE IT STICKS (The Elementary Teacher and the Television 

Lesson)“ Page 3 


VIDEO 


AUDIO 


Teacher shows the intro¬ 
ductory and descriptive 
material pertinent to 
the series...in the Guide. 


HOW DO I DECIDE? WELL, I KNOW IN GEN¬ 
ERAL WHAT THIS SERIES OF TELEVISION 
LESSONS IS DESIGNED TO BE AND DO...' 


(MAJOR RESOURCE, USING SUPERIOR 
PRESENTATIONAL MATERIALS, IN 
AREAS OF COMMON EXPERIENCE , TO 
MEET GENERAL NEEDS) 


Teacher indicates content 
and objective of lesson 
as revealed in guiaes 


I KNOW THE MATERIAL TO BE PRESENTED IN 
THIS LESSON...AND THE TELEVISION 
TEACHER'S PURPOSE IN PRESENTING IT. 


I KNOW FROM OTHER LESSONS THAT THIS IS A 
GOOD TEACHER. ..WITH EXCELLENT RESOURCES 
AND CONSIDERABLE HELP...I CAN COUNT ON 
THE FACT THAT HER PRESENTATION WILL BE 
SOUND, WELL-ORGANIZED, IMAGINATIVE... 
THAT IT WILL ARBUSE MY STUDENTS' 

INTEREST AND HOLD THEIR ATTENTION. 


Teacher calls attention 
to and camera emphasizes 
the class and its members 


BUT THE MAIN THING I KNOW, SAYS THE 
TEACHER...IS THIS CLASS...AND THE BOYS 
AND GIRLS IN IT. WHAT THEY LIKE... 

HOW THEY OPERATE...WHAT'S HARD FOR THEM 
...WHAT'S EASY...HOW EACH ONE LEARNS 
BEST. 


(This introductory segment 
with teacher takes approx¬ 
imately two minutes) 


IT MAKES SENSE, THEN, DOESN'T IT, ASKS 
THE TEACHER, TO GIVE THE TELEVISION 
TEACHER PRIMARY RESPONSIBILITY FOR 
CONTENT.. .AND TO TAKEOVER MYSELF THE JOB 
NOBODY ELSE IS EQUIPPED TO HANDLE...AS 
MANAGER OF THE LEARNING SITUATION. 


IN THIS WAY, HER TELEVISION LESSON CAN 
MAKE A MUCH MORE VALUABLE CONTRIBUTION. 
AND WITH HER HELP, I CAN DO MY JOB 
BETTER. I BELIEVE WE CAN SHOW YOU HOW 
THIS WORKS. 



TREATMENT FOR KIT NO. 5 

“GLUE TO MAKE IT STICK' (The Elementary Teacher and the Television 

Lesson)" Page 4 


VIDEO 

AUDIO 

Teacher proceeds with 
introduction to the 
television lesson 

(Thre 

(THREE MINUTES FOR PREPARATION 
ACTIVITIES TO BE DESCRIBED OR 
DEMONSTRATED) 

This may include some¬ 
thing pertinent to the 
subject...what they are 
going to watch 


It may deal with vocabu¬ 
lary they need before 
the television lesson 


It may be designed to 
find out what they already 
know...what they want to 
know 


It may be designed to 
build motivation toward 
heightened interest in the 
lesson on screen 


Transition to lesson on 
screen - lesson excerpt 

EXCERPT OF LESSON (TEACHER IN DIVING 
SUIT AT BOTTOM OF OCEAN).. .EXCERPT TO 

BE DECIDED IN CONSULTATION WITH UTIL¬ 

(Seven minutes devoted 
to excerpt) 

IZATION TEACHER. IT SHOULD BE A 
SEGMENT WHICH IS MEANINGFUL IN TERMS 

OF THE FOLLOW-THROUGH ACTIVITIES TO BE 
SHOWN IMMEDIATELY AFTER WE SEE LESSON 
EXCERPT. 

Transition to follow- 
through activities imme¬ 
diately subsequent to the 
lesson - follow-through 
activities demonstrated 
(Ten minutes devoted to 
immediate follow-through) 

TEACHER MAY EXPLAIN WHAT IS TO BE 
ACCOMPLISHED IN THE IMMEDIATE FOLLOW- 
THROUGH AND WHAT HE SEES AS THE OBJEC¬ 
TIVES FOR THE LONG-RANGE FOLLOW-THROUGH 
ACTIVITIES. 



TREATMENT FOR KIT NO. 5 

"GLUE TO MAKE IT STICK! {The Elementary Teacher and the Television 

Lesson)" Page 5 


VIDEO 


AUDIO 


SUGGESTS SPECIFIC LONG-RANGE FOLLOW- 
THROUGH ACTIVITIES. MAY INDICATE HOW 
SOME MOTIVATED BY THE LESSON AND 
INITIATED BY THE PUPILS THEMSELVES ... 

HOW OTHERS MOTIVATED BY THE CLASSROOM 
TEACHER FOR SPECIAL REASONS HAVING TO 
DO WITH SPECIAL PEOPLE. 

TEACHER MAKES POINT THAT SUCH ACTIVITIES 
MUST BE ADAPTED TO LOCALE, RESOURCES OF 
REGION, CLASS RESOURCES, TEACHER 
RESOURCES. 

Activities suggested 

by Committee members: 

Parent available - working 
in a related field 

Houses under the water 
(Article in "Time”) 

Film Strips of underwater 
life 

Field trip - if near an 
ocean 

Field trip - if near 
oceanography lab or 
defense research 
center 

Scuba diving 

Child dreaming - what it 
would be like down there 

Activities related to other 
areas of oceanography 

These could be demon- TEACHER, AFTER DEMONSTRATING SOME OF 

strated with freeze THE LONG-RANGE ACTIVITIES USED WITH 

frame peesentation HIS CLASS, MAY SUGGEST OTHERS. 




TREATMENT FOR KIT NO. 5 

"GLUE TO MAKE IT STICK! (The Elementary Teacher and the Telvision 

Lesson)" Page 6 


VIDEO 


AUDIO 


TEACHER THEM SAYS TO VIEWERS: KNOWING 
YOUR OWN INTERESTS AND ABILITIES, YOUR 
LOCAL RESOURCES, AND THE PUPILS IN 
YOUR CLASSROOM, PERHAPS YOU HAVE 
THOUGHT OF OTHER WAYS TO USE THIS 
TELEVISION LESSON.. C WAYS WHICH MAY 
BE EQUALLY EFFECTIVE „ OR EVEN MORE 
EFFECTIVE ... IN YOUR OWN PARTICULAR 
SITUATION. 


Transition to Narrator 

with bottle of glue (NARRAOT 

(NARRATOR) If you haven't, I'm sure 

you will. For your own ways of using 
television in your own classroom are 
important to successful learning 
experiences for Your pupils. Tele¬ 
vision can make a valuable contri¬ 
bution to the educational process by 
bringing the lesson and the child 
together. But only you can furnish the 
glue which makes that lesson stick! 

Close-up of bottle of 
glue. Roll credits 
over...or may move 
glue over and paste 
credits on screen... 
using the glue. 



NAEB UTILIZATION PROJECT 


March 19, 1963 


GENERAL CONSIDERATIONS 


(Comments) 


During our first meeting in Chicago we agreed 
on certain points to be considered in the production 
of these kits. 1 will set down the ones from my notes 
and you can accept, disagree, add, or subtract, but 
don’t ignore them. These will be important to the 
writers and producers. 


1 o The kits are to be directed towards teachers or 
student teachers who have limited or no previous 
experience with instructional television. 

2. The kits will be used primarily by educators who 
are teaching or directing in-service teacher edu¬ 
cation classes or workshops dealing with instructional 
television program utilization. 

3. The kits will have a secondary use by educators 
teaching or directing pre-service education 
courses at colleges and universities. 

4. Throughout the kits there will be an emphasis on 
the team teaching aspects of utilization. 

5. The content will be limited to the instructional 
uses of television. 

6o The kits will be so designed that they can be used 
either in sequence or as individual presentations. 

7. Utilization procedures will be Included that can 
be used with ail levels of television .'support from 
"enrichment” to "basic teaching." 

8. The emphasis in ail of the kits will be to show and 
to demonstrate utilization not merely to talk about 
utilization or show examples of instructional tele¬ 
vision programs without the classroom activities. 

9. Use terms "follow-through" not "follow-up" and 
"enrichment" and "basic instruction" to denote the 
limits of a continuum. 




General Considerations - Continued 


page two 


10. it would be desirable to have films in the kits 
produced cs film and not kinescope recordings. 
To do this if might be necessary to interest 
additional financing. The present budget is 
set up on the assumption that television tech¬ 
niques and kinescope recordings would be used. 

11. We will use one writer to prepare the treatments 
and preliminary scripts and make ever/ effort to 
use one production agency for all kits. 

12. Use a well known authority on the program to 
lend continuity and to give the kits prestige. 
(No suggestion as to who this would be.) 


KIT OUTLINES 


KIT NO. 1 - EDUCATIONAL BROADCASTING 

This kit will trace the history of educational broadcasting from the early days of radio to the 
present day uses of television. It will show the action of Government to protect the interests of 
education through the reservation of FM channels and television channels for noncommercial 
educational use,- and their current status. 

Outline by: Jim Fellows and Gertrude Broderick 


The purpose of this kit is to establish the use of 
television as part of the continuing effort by educators 
to improve the teaching - learning process. Television, 
although a relatively new technology in the school 
instructional program, is another in the long line of 
efforts to improve the educational program. It is 
unique in that like many of its antecedents it is an 
aid to the teacher and the learner, but at the scsne 
time if is also appropriately used as a basic method of 
instruction. Its use and acceptance requires that we re¬ 
think and re-evaluate many of our educational traditions - 
not that they are necessarily wrong, but that with an 
open and flexible approach some habits which are not 
longer effective can in time be replaced by new and 
more useful patterns. 






Outline 


page three 


I. ESTABLISH CONTEXT IN WHICH TELEVISION 
COMES TO EDUCATION 

A 0 Television's Antecedents 

1. Film 

2. Slides 

3. Radio 

Bo Relationship To These Antecedents 

II. EXAMPLES OF WAYS IN WHICH TELEVISION 
REINFORCES AND CHANGES EDUCATIONAL 
TRADITION 

A. Classroom Design 

B. Team Teaching 

Co Subject Matter Categories 
D 0 Administrative Uses 
£. Schedule 

lilo WHAT HAS BEEN ACCOMPLISHED SO FAR 
A* Research Conclusions 
B. Cost Factors 

Co Foundation & Government Support 


Additional Comments: 





KIT NO 2 - GOOD TEACHING AND COMMUNICATION 


page four 


This kit will be based on the principle that teaching can be improved by the use of educational 
broadcasts and other media because, when used effectively/ they can promote effective types of 
learning experiences in adults as well as in children; in college as well as in grade or high school„ 
Through illustrations, it will show how many teaching problems can be solved, partly or wholly, by 
the proper utilization of well-planned programs. 

Outline by: Elaine Afton and Lewis Rhodes 


Purpose: To show how and why the teaching- 
learning process can be improved by 
the use of educational broadcasts. 

Program Outline: (Content) 

A. The learning-teaching process 
-Relationships 

-Factors - need, communication of 
information, reinforcement 

Bo Roles in the process 
-Teacher 
- Student 
-Tools 

Co Problems in the process 
-Expanse of knowledge 
-Ability levels 
-Variety of background 
-Classroom size 
-Non-professional duties 
-Etc. - many more problems 





Kit No* 2 - Continued 


Do Media in meeting problems 
-paper-pencil 
-boob 

-visuals -strengths- 

uniqueness of each - 
-radio different purposes 

-television 

Eo Television 

-illustrations - showing television meeting 
various needs 

-use of equipment 

-use of outstanding person 

-front-seat quality 

-personal quality 

-handling of problems impersonally 

Comment: One person can carry this program with 

good visuals and illustrations from programs. 


Additional Comments: 



KIT NO. 3 - PREPARING THE EDUCATIONAL flnstractiond) PROGRAM 


page six 


What are the essential elements of a useful educational program? How do they differ in 
planning and presentation? Television, like radio, is broadcast under rigid limitations of time. 
The purpose of this kit is to develop, for the classroom teacher end for the beginning camera 
teacher, an understanding of program planning and production to achieve variety and appeal 
to the many groups who use St. 

Qjtline by: Arlene McKeiiar and Marguerite Fleming 


Outline* 

IDEA DEVELOPMENT 
-Individuals as sources 

- Classroom teachers 

- Surveys 

- Curriculum people 

- Specialists (Education, Subject Matter, 

Television) 

- Special interest groups 
IDEA EVALUATION 

- Committee of specialists 

1. content 
2° education 

3. curriculum supervision 

4. television staff 






Kit Noo 3 - continued 


page seven 


Idea Evaluation - continued 
-Scrutinize for: 
lo need 

2. contribution to learning 

3. adoptability to television 

4. foim - major resource, supplemental 

5. place in curriculum 
-Result: 

— Crystallized purpose 

REFINEMENT OF IDEA FOR TELEVISION 

- Committee blocks out the series 

- Television personnel (producer-director) works 
with committee on format and approach. 

-Selection of on-camera teacher 

1. show auditions 

2. ennunciafe qualities needed in 
on-camera teachers 

(positive approach) 

(personal medium) 

ROLES OF EACH IN PRODUCTION 
-Producer and/or director 
-On-Camera person 
- - Content consultant 

-Writer - if any (show interaction) 



Kit No. 3 - continued 


page eight 


TEACHER'S GUIDE 

- Close cooperation between the writer of the 
guide and the on-camera person, content 
specialist, originating committee, etc. 


PRODUCTION OF SERIES 

- Vignettes of conferences (on art, set plans, etc.) 
with producer-director 

- Rehearsal 

- Taping or production 

- Jobs of various television personnel 


EVALUATION OF PILOT PROGRAM 

- Evaluating a program following it taping 

- Use experts in various fields 

- Try out in classroom 

- Teacher evaluation 

- Decisions for series 

- Show that this continues as the series is 

produced 


ULTIMATE AIM 

- A television series is the teamwork of many 
persons. After careful design it is 
executed by many. All this to become 
one link in this chain of learning. 



KIT NO. 4 - SELECTING AND UTILIZING THE PROGRAM 


page nine 


This kit will dad with the mechanics of utilisation preparation of class prior fo the broadcast 
the presentation, end poet-broadcast follow-up. It will include information on the physical en» 
vlionmsnt, set placement, lighting control, antenna adjustment, and set tuning. 

Outline by; Clair Tettemer and Dee Wclfarth 


SELECTING THE PROGRAM 

One of the most crucial steps In utilization Is 
selecting the program. Whether the selection 
is made by the classroom teacher, the curric¬ 
ulum director, principal or superintendent-the 
same selection principles should be followed. 

In some instances the selection will be made 
for an entire series while in others the select¬ 
ion will be on an individual program basis. In 
all cases the selection should be made in view 
of what television can do for the learner. 

Points to keep in mind are; 

1. Select for specific puiposes 

2. Asses class and teacher needs 

3. Evaluate the programs potential 

4. Use the study guide 

UTILIZING THE PROGRAM 

While specific steps which will fit all programs 
and classes cannot be listed, there are certain 
procedures that teachers will v/ant to oosider. 
Utilization consists of those activities and pro¬ 
cedures which are carried on in the classroom 
before^ during and after a television program, 
and which provide for a enooth transition into 
and out of the television program. It makes 
possible adjusting the program's content to the 
ability of the class and helping the students get 
the maximum learning from the viewing exper¬ 
ience. The process of utilization is generally 
directed by the classroom teacher, but it also 
can be guided by the television teacher, by the 
students, or by a combination of all three. 





Kit No* 4 - continued 


peg® ten 


For convenience of discussion, utili¬ 
zation procedures can be divided into three 
parts - before, during and after the telecast. 

BEFORE TELECAST - PREPARATION 

— Teacher Preparation 

I * University training 

2* Workshop training 

3. Immediate preparation 

a. study guide 

b. follow-through plans 

c. collecting supplementary materials 
— Classroom Preparation 

lo Antenna 

a. types 

b. simple adjustments 
2. Set Location 

a. optimum viewing 

- comer location 

- no glare 

- low ambient light levels 

- seating arrangements. 

(distance, angle) 



Kit No. 4 - continued 


pegs eleven 


(Set Location - continued) 

b e proper sound distribution 

-speaker size & placement 

-corner location cancels 
sound reflection 

3. Tuning the Receiver 

a. simple adjustment 

-tuning 

-contrast 

-balance 

-noise and interference 

b. technical adjustments 

-recognize only 

— Student Preparation 

1. learning to view 
2o program background 

3. vocabulary 

4. transition from class work to television 

and back 

5. understanding of objectives 

DURING THE TELECAST 
1, Teacher's Rol® 
a, participant 



KSt No„ 4 - continued 


P@q<s twelve 


(Teacher’s Role - continued) 
b. cheerleader 

Go observer of student behavior 
do content observer & critic 
e. class manager 
f 0 assist the television teacher 

2, Student’s Role 

3. Television's Role 

a 0 media 

bo television feaeher 

AFTER THE TELECAST 

I* Program clarification (riot re-teaching) 
2o Provide for individual differences 
3. immediate follow-through activities 
4o Long range follow-through activities 
S» Evaluation of experience 
So Preparation for additional programs 


Additional Comments: 





KIT NO. 5 - MOTIVATING THE ELEMENTARY LEARNER 


page thirteen 


The determining factor for classroom use of & broadcast lies in the teacher's purpose. What a 
teacher does with a program depends upon the objectives he has in mind, He may be concerned 
with teaching certain skills* * knowledges* attitudes* values* understandings* and/or cppracations. 
By using different formats* this kit will present examples of teacher use of programs resulting in 
high motivation of elementary grade learners. 

Outline by: Charles Hettinger 


1. Teachers us® many methods in teaching. The method 
depends upon the purpose of the lesson. 

- Fact giving 

- Drill 

- Development of skills 

- problem solving 

- Development of attitudes* appreciation 

understanding 

- Experimentation 

* Demonstration 


2. The television lesson can be "geared" to any one 
of these. So can the introduction to the television 
lesson and the follow-through. 

3. The classroom use of a television lesson will be 
determined by three basic factors: 

a. The puspos® of the series - basic or 

enrichment. 

b. The material contained in the particular 

television lesson. 

c. The judgement of the classroom teacher 

concerning the needs and interests 
of his class or even particular 
members of the class. 





Kit No. 5 - continued 


page fourteen 


4. St is taken for granted that television teachers 
have informed the classroom teachers about the 
intent and purpose of the television lessons. It is 
important that the classroom teacher familiarise 
himself with the "communication." 


5. AH teaching Is concerned basically with two 
factors: content and students. 

a. Perhaps it might be sold that the television 
lesson has tbs special responsibility to 
deal with content - to present information* 
to pose problems* to open new vistas* etc. 

bo Perhpps it might be said that the student is 
the particular responsibility of the class¬ 
room teacher. 


1. With the help of the television* the class¬ 
room teacher is now more completely 
the manager of the learning situation. 


2. The classroom teacher* who best 
knows his group and the individuals 
In the group* must determine which 
concepts of the television lesson 
should be supplemented* impressed* 
and fortified. 

3. Television frees the classroom teacher 
to work more closely with students* to 
discover their weaknesses and strengths. 
While the television teacher is making 
the presentation* the classroom teacher 
has more time to observe* assist etc. 

It is a hard fact that we cannot be in 
the play and in the audience at the 
same time. 





Kit No. 5 - continued 


page fifteen 


6. The classroom teacher, as manager of the learning 
situation, needs to be active in a positive fashion 
during the television lesson. 

a. His attitude towards the television lesson 


determines the attitudes of the students. 

H. He needs to set the example for response, 
and other activities suggested by the 
the television teacher. 

c. He should not just sit down in the back of 
the class. He should move about, observing, 
helping, suggesting, etc. 

d. He may even use such devices as placing 
those who need the most help in a row 
along one side, so that he might give 
those students more help during the tele¬ 
vision lesson without disturbing the rest 
of the class. 



7. The use of television lessons is a form of team 
teaching. While the television teacher is busy 
with one activity the classroom teacher can 
"specialize" in another. 

8. Television presents those things which students have 
in common - certain facts, certain methods, certain 
ideas, etc. 

The classroom teacher is responsible for 
adapting the follow-through to this common 
knowledge. 




Kit No, 5 - continued 


page sixteen 


a, The television lesson can be compared to 
the textbook; it presents certain informat¬ 
ion about which all the students should be 
be aware. What is done after the reading 
of the textbook material Is determined by 
the needs and interests of the particular 
class* This is basically the some with a 
television lesson. 






ft 


55 ^ 


9. Generally speaking, no television lesson should be 
used without some form of introduction and follow- 
through. A parallel illustration is the use of films 
in the classroom. 


a. The activity may take many forms: some 
are immediate, some may be long term 
activities (as the beginning of a project.) 

SCRIPT SUGGESTIONS: 

Narrator- You have all used these activities in your 
classroom. 

Short scenes of: 

-fact giving 

-drill 

-problem solving 
-demonstration 


-experimentation 



Kit No, 5 - continued 


page seventeen 


Narrator - 


Narrator - 


Narrator - 


Narrator - 


Narrator - 


You recognized fact giving, drill, etc. 
Each method was chosen to achieve a 
desired learning. Each method required 
different planning. 

(Note: The idea for this manner of pre¬ 
sentation is to start with the known. 
Teachers are familiar with those methods. 
They feel comfortable thus far.) 

AH these methods are used on television 
lessons. All these methods lend them¬ 
selves to television introduction and 
follow-through. 


There is more to beginning the use of a 
television lesson than adjusting the 
blinds and turning on the set. Did you 
acquaint yourself with the lesson plan 
sent out by the television teacher. 

(Scene of teacher at desk studying 
lesson plan, making notes.) 


Suppose your lesson plans told you that 
the television lesson was to demonstrate 
the steps in weather prediction. What 
could you do as an introduction. 

Lets look at a few minutes of such a 
lesson; and you decide what you could 
have done. 

(Scene - television teacher in 
demonstration.) 


What could you have done? (Possibly, 
throw up cards on a magnetic bocid.) 
You could have raised the question of 
how students get weather reports, dis¬ 
cussed today's weather, etc. 




Kit Noo 5 “ continued 


page eighteen 


i 

Narrator - What couldyou have done during the 
the television lesson? 

(Scene - Voice of narrator over scene - 
You could have helped get student 
responses started. You could have 
helped certain students, etc,) 

Narrator - What could you do after the television 
lesson as follow-through. You have all 
sorts of methods at your command; ones 
you have used frequently. 

(Scenes: 

- class doing demonstration 

- class doing experi merit 

- class solving problem 

- class drilling ) 


(Any other ideas suggested on 
accompanying sheets can be worked 
into narration - or suggested by the 
activities in scenes,) 


Comment: Don’t act too fancy in choice of 
demonstrations for television scenes or classroom 
follow-ups. Don't frighten teachers by suggesting 
practices too complicated or so new that few have 
tried them. 


Additional Comments: 





page nineteen 


. y.'fi ■' J 

KIT NO. 6 - MOTIVATING THE HIGH SCHOOL LEARNER (The High School Learner & Television) 

The purpose of this kit is identical to Kit No. 5, except that it deals with programs for upper 
elementary and high school learners, and illustrates how a teacher integrates broadcasts into 
previous learnings and the ongoing experiences of pupils so as to assure maximum learning. 

Outline by: Wanda Mitchell 


BASIC CONCEPTS TO BE INCLUDED: 

1. That the classroom teacher must know the 
general purpose of the series (enrichment, 
direct teaching, major resource, etc.) 
as well as the goal or puipose of the 
specific lesson - as it has been developed 
by the television teacher. 


2. That the classroom teacher must select the 
follow-through that will be most meaningful 
for his particular class at this particular 
time. 


3. That activities which are appropriate for 
developing skills are not necessarily those 
most appropriate for developing attitudes 
or reinforcing knowledge or establishing 
values; that is, the activity is not good or 
bad per se but as it relates to the goal to 
be achieved. 


4. That the television teacher and classroom 
teacher are a team in the learning situation 
with the television teacher's major respon¬ 
sibility centered on the content and the 
classroom teacher's major responsibility 
focused on individual students. 


5. That the television teacher's primary concern 
must be on the elements common to all learners 
while the classroom teacher's primary concern 
must be on the individual differences of 
learners. 





Kit No. 6 - continued 


page twenty 


6. That the television se^nenf of the learning 
process frees the teacher from research, 
collecting and preparing background mater¬ 
ial, making and collecting visuals, discover¬ 
ing and obtaining resources - to give her 
more time to concentrate on how students 
learn, what stumbling blocks they meet in 
the process, clues to individual difficulties, 
patterns of response: the learning process* 


7* That the television segments of any unit of 
study must be - or be made to be - an 
integral part of tKat unit* 


8* That students must be aware of the relation¬ 
ship of the television segment to the 
total learning situation* 

9* That the classroom teacher must control the 
use of the television segment to create a 
wholesome, dynamic learning situation; 
and conversely, the television segment must 
not control the classroom. 


10. That the classroom teacher must remember 
that the learning fakes place - not in the 
studio or on the television screen; the 
learning takes place in the minds of boys 
and girls in the classroom - his! 


PRODUCTION SUGGESTIONS: 

1* Scenes of typical high school classroom 

activities: » 




/ 


Kit No* 6 - continued 


pago twenty one 


- drill 


-drctnafization 


- demonstration 


- reports 


- tests 


- student planning 


writing 


- buzz sessions 


- discussion 


- problem-solving 


- lecturing 

2. The television lesson may have as its goal: 

- to develop attitudes 

- to establish values 

- to train in skills 

- to impart knowledge 

3* Which of the activities in (1) are most suitable 
to each of the goals in (2)? 

On Television in Classroom 



Practical Politics dramatization or problem¬ 

solving 


student planning - 
regarding what to 
do about it 


Driver Ed, 


making posters 


writing slogans 






Kit No. 6 - continued 


page twenty two 


4. Need to individualize 

Close-ups of half a dozen completely 
different high school students watching 
telecast of ‘’Practical Politics”. 

a. Negro migrant from South/ whose 
teacher must follow-through with 
further explanation, amplification* 

b. Dizzy blond/ whose teacher may 
use question-answer to show how 
she personally is affected by 
politics. 

c. Lawyer’s sor/ who plans a pro¬ 
ject for student citizenship with 
teacher serving only css a con¬ 
sultant. 

d. Regular kids/ who may follow- 
through in a debate regarding the 
issues of who should go into 
politics as a career/ may be 
assigned to go do further reading. 


5. Solutions to scheduling programs in high schools. 

a. Interview with Mr. Jay Foimsma 

Holland High School 
Holland, Michigan 

b. Transparencies on scheduling. 


c. Report of Mr. ^ 

State Dept, of Instruction 
State of Maine 
Augusta, Maine 


(If you know who please fill in his 
name.) 


d. Schedule samples from one snail 
school and one large school. 





Kft No, 6 - continued 


page twenty three 


6. Miscellaneous hints: 

That any series for high school include 
an introductory lesson on "How to Le^rn 
From Television", using Mortimer Adler's 
NET films "How to Learn From Television" 
and "How to Learn From Books’ 3 with class 
discussion on similarities and differences. 

That the students (high school, not stall.) 
be included in conferences between studio 
teacher, classroom teacher, and super¬ 
visors. Their ideas often are better than 
ours as to what will have impact, what will 
reinforce. 

Who is closer to the source of learning? 


Additional Comments: 




(FOLLOWING THE LESSON) 


ON THE BLACKBOARD 
MIN IDEAS: 

(1) In adapting to his environment, man makes conscious and willful 
changes. Then he must adapt to his own changes. 

(2) Perhaps man can never control the natural forces. He must learn 
to work intelligently with these natural forces to bring about 
changes which will help him. 

(3) To profit from the ocean 1 s promises, man must solve its problems. 

(4) The oceans contain many resources that man can put to use. 

(5) Scientists are exploring ways to use all the resources of the 
oceans. 

HOW DID THE LESSON MAKE YOU FEEL ABOUT THE OCEAN? 

Excited - hopeful - crazy - lost - scared - adventurous - 
neat - eager - inspired - happy - scattered out - proud - 
enthusiastic - dumb - wet - curious - wondering. 

NEW NOTIONS ABOUT THE OCEANS (Surprises in the lesson) 

What surprised you most? 

Frontier 
Fish farms 
Oil wells 
Fish fences 
Harvesting fish 

WHAT DID THE LESSON TELL US ABOUT: 

Time? 

Change? 

Space? 

WHAT DID THE TEACHER SUGGEST THAT WE DO? 

WORDS FOR EXPLORATION: 
gyros 

pressure cooker 
inedible 
aquaculture 


Whale ranching 
Pressure cooker 
Weeds that eat food 
Submarine tractor 
Whale milk 


THE OCEAN IS A FERTILE FIELD FOR 


(1) Plants 

(2) Animals 

(3) Ideas 


TELEVISION LESSON 

Except for the first paragraph*, this section of 
lesson is not seen on screen. 

Teacher in ocean depths set. She is in classroom dress...seated on a 
tractor. Near her there is a vacuum cleaner...a pressure cooker. The dogfish 
is tethered to a tall sea plant. An axe is within reach. 

In answer to the three questions in the introduction, the teacher on 
screen answers: 

*"Right here. Where I am. In the depths of the briny, treacherous, 
beautiful, vast, and fertile ocean* How did I get here? The same way YOU get 
lots of places where YOU want to be but can't go. By imagination!" 

She says there is plenty of room for imagination in this new strange 
world of water...not only because of the size (The Continental Shelf alone is as 
big as Asia)...but because so little is known about it that we are discovering 
new things every day. Things here are very different from the world as we know 
it. Just as our ancestors..-moving from Europe to America... or from the forests 
of the new land to the grassy plains farther west...found that their old ways 
of living, thinking, and doing didn’t fit their new situation, so our scientists 
exploring the ocean today are constantly meeting new dangers, new conditions, 
new problems. 

Just picture to yourself, she says, this skillful hero of the timbered 
regions (SHE SHOWS A PICTURE OF A RUGGED PIONEER FELLING A TREE TO BUILD A 
CABIN OR CHOPPING FIRE WOOD) out in the middle of the rolling prairie without 
a tree in sight. Don’t you imagine he must have felt that this axe (SHE EXHIBITS 
AXE) was about the most useless tool he could imagine. 

About as useless as what else you see? (SHE LOOKS AROUND AT THE 
VACUUM CLEANER, THE PRESSURE COOKER.. .THEN DOWN AT THE TRACTOR.) That’s right. 
The familiar tools, the familiar ways of doing things...won’t work. 



■ 2 - 


But, she says, we’re not entirely sure just yet what WILL. We still 
have much to learn about this vast ocean and our reactions to it. In fact, it 
has been said that our knowledge of the ocean today is about equal to the know¬ 
ledge men had about this continent at the time of the Lewis and Clark Expedition. 
It might be interesting to find out just how scanty that was.' But... compared 
to the Cambrian Age, even Louis and Clark look pretty progressive don’t they? 

And there will be more changes, because man makes many changes himself. 

Scientists, however, get a great deal of satisfaction from solving 
problems.. .and they are approaching the problems of the ocean in the same way 
that they approach other problems. She gives a brief resume of the scientific 
method. 

Their first problems, of course, had to do with survival under the 
water. Teacher says that from observation of film and television, from 
reliable reading sources, from adult scientists, and from their own experiences, 
she expects the pupils know what some of these problems were and how they have 
been solved. She feels sure that with the help of their classroom teacher they 
can find out about others. 

As we follow our scientists in their efforts to solve the problems of 
this new environment, we find that the solution does not always lie in a brand 
new invention or technique. Sometimes it’s simply a new way of using a 
familiar tool. 

TEACHER EXHIBITS THE PRESSURE COOKER. DESCRIBES HOW THE PARROT WAS 
CONVEYED SAFELY TO THE "STARFISH" AND THE DEEP DIVING TOWER. MIGHT SHOW PICTURE 
OF DIVERS CARRYING PRESSURE COOKERS. 

She says that the exploration for new facts to support new hypotheses 
sometimes shows an earlier hypothesis to have been wrong. 


■3- 


EXHIBITS DOGFISH.. .WHICH USES ITS FINS NOT FOR STREAMLINING BUT TO 

MALIC ON THE OCEAN FLOOR. 

INTO LESSON ON SCREEN: 

The remainder of this is the portion of the 
lesson seen on screen. 

Teacher says now that science has solved some of our problems of 
survival in the ocean...now that we can exist safely...go increasingly deeper 
...stay increasingly longer.. .we ‘re ready for some of the work we came down here 
to do in the first place. Me*re ready to explore some of the practical promises 
of the sea. As a result, the ocean is a very busy place. 

She indicates the bathyscaphe (OR saucer) which is included in the set... 
and says it is taking visiting scientists and other guests on tours of exploration 
and observation. 

The teacher leaves her tractor and moves to the foreground, as the camera 
pulls back, to reveal in the right foreground the superstructure of an ocean 
floor drilling rig...with TV lights and camera...and lines extending to the ship 
floating above. The teacher says that to get at the ocean's enormous oil 
reserves, a daring new technique has been worked out in which the entire 
operation is performed from an anchored ship. All the drilling equipment is 
lowered to the sea bed, where it digs itself in by remote control. Through 
underwater TV cameras, the operators can watch what is happening, and the 
drilling can be carried out exactly as on land, despite the fact that the well¬ 
site may be a thousand feet down.. .much too deep for divers to reach. Vlhat 
do you suppose were some of the problems they encountered here? How do you 
suppose they were solved? 

The teacher says that scientists are putting their imaginations to work 
on the problem of mining the immense qualities of rare metals in the ocean. 


•4- 


Already the ocean is represented in the magnesium from which most of our 
planes are built. Though the recovery of gold from all this vast amount of 
water now seems hopeless, we may have some help from the ocean itself. She 
reaches down and picks up a lobster. Cobalt is even scarcer than gold, she 
says, but this clever fellow manages to extract it. So perhaps in some not- 
too-far-off day, we may be able to select marine plants or animals which can do 
our mining for us. 

But, she says, that won’t be necessary in every case. If you could look 
along vast bottom areas of the ocean, you would see something that looks like 
this. We see on the ocean floor mock-ups of manganese nodules. No, says the 
teacher, there aren’t burned potatoes. They are mysteriously-formed nodules 
containing manganese, iron, and small quantities of cobalt, nickel, and copper 
...strewn along the ocean floor. There they are...just waiting to be scooped 
up...more mineral wealth than the human race has mined in all its history. How 
will they be scooped up? That remains to be seen. But one nodule collector, 
proposed by oceanographer John L. Mero, looks like this. We dissolve to a 
cut-out representation of the Mero nodule collector. Aside from the propellers, 
gyros, and floats to keep the pipe positioned in the deep, deep water...and the 
television cameras to find nodules.. .what does it remind you of? That’s right. 
Our old friend••.the useless vacuum cleaner. 

Which is not so useless after all, is it?...asks the teacher, when the 
principles on which it operates are adapted to the specialized demands of this 
new environment. And the vacuum cleaner, changed up in another way, is being 
used also to harvest fish on fish farms. 

Teacher says she would like to have a fish farm. ..IF it weren’t for the 
"weeds" eating up all the food. Does that sound strange? Well, she says, 


■5- 


many things down here are strange.. .and they get even stranger when man starts 
adapting his dry land ideas to the ocean. You see, she explains, "weeds" to 
a fish farmer aren't plants. They're tiny, inedible creatures like this brittle 
star (SHE EXHIBITS A BRITTLE STAR OR FACSIMILE) and this starfish (SHE EXHIBITS 
A STARFISH OR FACSIMILE.) These, we are told, eat all but a tiny percentage of 
the fish food in the sea. You need a tractor all right, says the teacher, 
but explains that to clear these weeds, she'll probably have to trade hers in 
on a pressure-proof submarine. 

Even then, points out the teacher, fish farming wouldn't be easy. How 
can we get our fish-crops to "stay put" and grow.. .instead of swimming away. 

She mentions fences with which scientists are experimenting, based on what is 
known about how fish react to color, noise, disturbed water. If these don't 
work, she says, she may have to give up aquaculture. 

Of course, says the teacher, I might take up whale ranching. It is 
claimed that this could be a very profitable in the future, because, in addition 
to everything else she has of value, a mother whale gives a ton of milie a day. 

]y&ybe she'd even teach me to breathe under water, says the teacher. 

She says she knows some scientists predict man will someday be able to have 
gills imposed by surgery. But she doesn't want gills. She'd rather get the 
whale to tell her the whale's breathing secret. Then, looking straight at the 
class, the teacher leaves a provocative question for the pupils' consideration. 
"What could that secret be?" 


UTILIZATION PROJECT 


NATIONAL ASSOCIATION OF EDUCATIONAL BROADCASTERS under a grant-in-aid from 
UNITED STATES OFFICE OF EDUCATION. 


FILM (SHOOTING SCRIPT) 

KIT NO. 5 - UTILIZING TELEVISION IN THE ELEMENTARY CLASSROOM 
(INTERMEDIATE SCIENCE LESSON - OCEANOGRAPHY) 
(Utilization Oriented Primarily to One Discipline) 
(Second Revision - May 12, 1964) 


Film Director: 

Earl Miller 

Film Unit - Radio/Television 
The University of Texas 
Austin, Texas 


Writer: 

Marye D. Benjamin 
KIRN-TV 

Southwest Texas Educational 
Television Council 
Austin, Texas 






UTILIZING TELEVISION IN THE ELEMENTARY CLASSROOM 


FADE IN 


ECU - Objects in desk, thumbtacks, 
paperclips, etc., fingers come into 
frame and pick up thumbtacks. 


(MUSIC: FADE IN TO BG - LA MER 
DEBUSSY) 


ECU - Section of bulletin board 
Fingers come into frame with 
picture of ocean, thumbtack, hand 
thumbtacks picture to display 
"MOODS OF THE OCEAN" 

Slow pan to: 


INTERIOR. DAY. STUDIO. 

CU. High bulletin board 
No. 3. OCEAN PICTURES 
(in Ingerson Classroom). 
Establish, then SUPER TITLE: 
UTILIZING TELEVISION IN THE 
ELEMENTARY CLASSROOM. 
Dissolve to: 


(MUSIC: FADE OUT UNDER) 


NARRATOR: (VO) Ihis is a 
learning environment. 


Dissolve to: 


INTERIOR. DAY. STUDIO. 

CU. High bulletin board 
No. 4. OCEAN PICTURES 
CAMERA PULLS BACK to include 
high angle shot of full class¬ 
room. Pupils are at their desks. 
Teacher is calling attention to 
poster showing viewing skills. 


NARRATOR: For nine months of 
one year it is the specialized 
habitat of these pupils...with 
their individual abilities... 
their particular interests... 
their specific needs... 

INTERIOR. DAY. CLASSROOM. 

MS. ANOTHER ANGLE 
Cut to: 


INTERIOR. DAY. CLASSROOM. 

LS. High angle shot of classroom. 
CAMERA MOVES IN to show pupils 
in one part of the classroom. 

Cut to: 





2 


7- INTERIOR. MY. CLASSROOM 
MS. Teacher with poster. 


8. INTERIOR. MY. STUDIO. 
(CLASSROOM) 

CU. Textbook on table by boy’s 
arm. 

Cut to: 

Above and behind the teacher 
there are some teaching 
materials on a high shelf. 


9- INTERIOR. MY. STUDIO. 
(CLASSROOM) 

CU. Radio on shelf. 

10. INTERIOR. MY. STUDIO. 
(CLASSROOM) 

CU. Motion picture projector. 
Cut to: 


11. INTERIOR. MY. STUDIO. 
(CLASSROOM) 

CU. Art supplies. 

Cut to: 


12. INTERIOR. DAY. STUDIO. 
(CLASSROOM) 

CU. Maps and globe. 

Cut to: 


13- INTERIOR. DAY. STUDIO 
MS. Classroom. With TV 
set in foreground. 


NARRATOR: And of this teacher... 
who has her own personal values 
and special skills. An environ¬ 
ment abounding in the materials 
from which lessons are made. 

NARRATOR: A lesson may be form¬ 
ing here... 


NARRATOR : Or here... 

NARRATOR : A lesson may be wait¬ 
ing here... 

NARRATOR : Stirring here... 

NARRATOR : Emerging here... 

NARRATOR : (VO) For this 
classroom...rich in resources... 
counts among its blessings one 
of the latest.. .and, POTENTIALLYj 
one of the greatest...of these 


resources...Television. 









3 


Teacher (in the background) looks NARRATOR: (CONTINUED) 

at clock on wall, signals to a 

pupil, goes back to desk. Pupil Here television is used as a 

leaves his place, goes to set, 

turns it on. Students are major resource in some subjects 

obviously getting set for the 

television lesson.. .adjusting chairs.for enrichment in others. 

sharpening pencils and getting 

note paper ready...checking vocabu- When the dial is turned, it 

lary words on chalk board. 

summons into this classroom an¬ 
other member of the teaching 
team. ..one whose primary respon¬ 
sibility is the imaginative, 
well-documented, carefully- 
prepared presentation of subject 
matter. 

Well...the time is now... 
the set is warm...the pupils are 
ready with materials at hand... 

14. INTERIOR. DAY. STUDIO. Every eye is on the screen... 

(CLASSROOM) 

MS. Pupils watching screen. And the television teacher 

Cut to: 

enters the classroom: 


15. UNDERWATER SET TV TEACHER : Where would you 

MS. Teacher in classroom dress 

with dogfish cut-out on leash. walk a dog like this? 

She hooks leash over a sea 
plant and moves on to pressure 
cooker...sitting on rock forma¬ 
tion. She picks up the pressure 
cooker. 

Cut to: 

16. UNDERWATER SET. STUDIO. TV TEACHER : Where would you 

CU. Pressure cooker. 

(Teacher holds cooker in one hand 
...lid in the other.) 

Cut to: 


use this for a bird cage? 





4 


17. UNDERWATER SET. STUDIO. 

MS, Teacher puts down pressure 
cooker and moves to milk con¬ 
tainer.. .then moves on to 
tractor and sits on it. 

Cut to: 


18. UNDERWATER SET. STUDIO. 
WIDE ANGLE. 

Cut to: 


19. INTERIOR. DAY. STUDIO. 
(CLASSROOM) 

LS. Children facing screen. 

CAMERA IS PULLING BACK 
as Narrator enters frame... 
blocking our view and 
(apparently) leading us out 
of earshot of the classroom. 


He gestures toward the 
receiver. 

Cut to: 


20. INTERIOR. DAY. STUDIO. 
(CLASSROOM) 

MCU. Television set. Side- 
rear view. 


TV TEACHER; Where would you 
find a baby who drinks a ton 
of milk a day? 

TV TEACHER : Right here ...tn the 
depths of the briny, treacherous, 
beautiful, vast, and fertile 
ocean. 

TV TEACHER (VO) How did I get 
here? I got here the same way 
YOU get lots of places YOU want 
to be...but can't go. By 
imagination l (FADING) And 
there is plenty of room for 
imagination in this strange new 
world of water.... 

NARRATOR: We ma^ be giving you 
a false impression. Utilization 
of this television lesson in¬ 
volves more than turning on that 
receiver. 

NARRATOR : Learning doesn’t 
emerge with the simple click of 


a switch 







- 5 - 


21. INTERIOR. MY. STUDIO. 

(CLASSROOM) (same as end of 
SCENE 19). 

Cut to: 


22. INTERIOR. MY. STUDIO. 
(CLASSROOM) 

MS. Of Narrator w/o 
class in BG 


FADE OUT: 
FADE IN: 


23. CAMERA PULLS BACK from record 
turning to reveal teacher at 
table with record player on 
table. Teacher is watching 
pupils. 

Cut to: 


24. INTERIOR. DAY. STUDIO. 
(CLASSROOM) 

MLS. Children listening to 
music. 

Cut to: 


25. INTERIOR. MY. STUDIO. 
(CLASSROOM) 

MS. Teacher at table. 

As music stops, teacher reaches 
to shut off record player. 

Cut to: 


NARRATOR: Television can bring 
the child and the lesson together. 
But there it stops. The class¬ 
room teacher must apply the 
glue to make that lesson stick. 

NARRATOR: Let's go back a few 
days to watch Mrs. Arnold, a 
skillful teacher,at work. Let's 
see how she used music to 
introduce a new science topic 
to her class. 


TEACHER : All right, boys and 
girls. While the drift and 
lift of Debussy's music of the 
sea is still with us, tell me, 
if you will...just where did 


that music take you? Laura? 






- 6 - 


26. INTERIOR. DAY. STUDIO. 
(CLASSROOM) 

CU. Laura 
Cut to: 

27. INTERIOR. DAY. STUDIO. 
(CLASSROOM) 

CU. Teacher. 

Cut to: 

28. INTERIOR. DAY. STUDIO. 
(CLASSROOM) 

CU. Bryan. 

Cut to: 

29. INTERIOR. DAY. STUDIO. 
(CLASSROOM) 

CU. Scott 


30. INTERIOR. DAY. STUDIO. 
(CLASSROOM) 

WIDE ANGLE. Teacher and a 
section of the class. 

Cut to: 


31. INTERIOR. DAY. STUDIO. 
(CLASSROOM) 

CU. Laura. 

Cut to: 


LAURA : To the Gulf of Mexico. 

TEACHER : Bryan? 

BRYAN : To the sandy beache.s 
of the Bahama Islands. 

TEACHER : (VO) Scott? 

SCOTT : To the very bottom of 
the Marianas Trench. 

TEACHER : David? How about 
you? 

DAVID: (VO) To the roaming 
edge of the world. 

TEACHER : That's an exciting 
phrase...though we don't know 
exactly where that is, do we? 

But I noticed that some of you 
mentioned some very specific 
places. Do you know these 
places from your own experience? 

LAURA : I've been to the Gulf 
of Mexico 

TEACHER : (VO) Good. How about 


the Bahama Islands? Bryan? 










- 7 - 


32. INTERIOR. DAY. STUDIO. 

(ciassroom) 

CU. Bryan. 

Cut to: 


33. INTERIOR. DAY. STUDIO. 
(CLASSROOM) 

MCU. Teacher 
Cut to: 


34. INTERIOR. DAY. STUDIO. 
(CLASSROOM) 

CU. Alice 
Cut to: 


35. INTERIOR. DAY. STUDIO. 
(CLASSROOM) 

'WIDE ANGLE. Teacher and pupils. 


36 . INTERIOR. DAY. STUDIO. 
(CLASSROOM) 

MS. Scott. 

Cut to: 


37. INTERIOR. DAY. STUDIO. 
(CLASSROOM) 

WIDE ANGLE. Teacher and pupils. 
Cut to: 


BRYAN : My grandfather's been 
there, and he told me about ’em. 

TEACHER : I see. And that's 
a good way to learn, isn't it, 
class? By listening when in¬ 
formed people talk. 

AKECE: (VO) Mrs. Arnold. 

TEACHER : Yes, Alice? 

ALICE: I'll bet Scott hasn't 
been to the bottom of the 
Marianas Trench. 

GENERAL LAUGHTER. 

TEACHER : Only by music. But 
somebody has! Who was it, 

Scott? Do you knot/? 

SCOTT: Walsh and Piccard. They 
went down in the Trieste. 

35,780 feet. To the deepest 
known spot in the world. 

TEACHER : And Scott has reminded 
us that we can explore and ob¬ 
serve by reading the reports of 
reliable scientists. Is that 











- 8 - 


38. INTERIOR. DAY. STUDIO 
(CLASSROOM) 

MS. Pupils with no reaction. 


39* INTERIOR. DAY. STUDIO. 
(CLASSROOM) 

MS. Teacher 


40. INTERIOR. DAY. STUDIO. 
(CLASSROOM) 

MS. Pupils react yes. 


4l. INTERIOR. DAY. STUDIO. 
(CLASSROOM) 

MS. Teacher. 


42. INTERIOR. DAY. STUDIO. 
(CLASSROOM) 

MS. Teacher. 

Cut to: 


43. INTERIOR. DAY. STUDIO. 
(CLASSROOM) 

MS. Laura 
Cut to: 


TEACHER (Continued) 
an accepted scientific way to 
add to our own experience? 

PUPILS : Yesi 

TEACHER : Indeed it isi Now 
how about some other ways? 


TEACHER : Well, how about the 
music we heard?That adds to our 
experience, doesn't it? 


TEACHER : Does it give us facts, 
David? 

DAVID : (VO) No. Just feelings. 

TEACHER : What else has given 
us feelings and impressions 
about the ocean? 

LAURA : Oh, I know.' The pictures 
we looked' at. "The Big Wave", and 


that other one 










- 9 - 

44. INTERIOR. DAY. STUDIO. 

(CLASSROOM) 

MS. Bryan. 

Cut to: 


45. INTERIOR. DAY. STUDIO. 
(CLASSROOM) 

MS. Teacher. 

Cut to: 


46. INTERIOR. DAY. STUDIO. 
(CLASSROOM) 

MS. Two or three students, 
looking slightly puzzled. 
Cut to: 


47. INTERIOR. DAY. STUDIO. 
(CLASSROOM) 

MCU. Scott. 

Cut to: 


48. INTERIOR. DAY. STUDIO. 
(CLASSROOM) 

MS. Teacher 


BRYAN : That good one. By 
Winslow Homer. "Fog Warning." 

I liked that! 

TEACHER : So did I, Bryan. It 
gave us a strong feeling about the 
sea, didn’t it? Along with some 
information through our eyes. 
(PAUSE) Tell me something, boys 
and girls. Does how we feel ever 
affect what we know? 


TEACHER : (VO) Let me put it this 
way. Can you think of a feeling 
that might make you want to know 
more about something? Scott? 

SCOTT : Well, if I’m 'specially 
interested in something or 
excited about it...I want to 
know more. 

TEACHER : That’s very good 
thinking. Anybody else have any 


other ideas? Alice? 






- 10 - 


ij-9* INTERIOR. DAY. STUDIO. 
(CLASSROOM) 

MCU. Alice. 

Cut to: 


50. INTERIOR. DAY. STUDIO. 
(CLASSROOM) 

MS. Teacher 
Cut to: 


51. INTERIOR. DAY. STUDIO. 
(CLASSROOM) 

MCU. David. 

Cut to: 


52. INTERIOR. DAY. STUDIO. 
(CLASSROOM) 

CU. Bryan. 


53. INTERIOR. DAY. STUDIO. 
(CLASSROOM) 

MS. Teacher. Over shoulder 
shot revealing a few students. 
Cut to: 


ALICE: If you feel like somebody's 
gonna get ahead of you...like the 
Russians or the French or the 
Chinese, or somebody...you want 
to know all you can. 

TEACHER: That’s right. A 
feeling of competition urges us 
toward knowing and learning, 
doesn't it? Yes, David? 

DAVID : Well, how about just 
wanting to know something because 
you like to know things? 

TEACHER: (VO) Yes.' For some 
people the sheer joy of learning 
can give a big push toward know¬ 
ledge, can't it, David? Do you 
have another feeling in mind, 

Bryan? 

BRYAN : I thought maybe the feeling 
that it was brave and daring to 
find out about the unknown. 

TEACHER : Yesi Excellent. The 
spirit of adventure. Now, all 
these feelings push us toward 
knowing, don't they? Can we think 








11 - 


54. INTERIOR. MY. STUDIO. 
(CLASSROOM) 

Wide angle. Teacher and 
students. Teacher calls on 
students as they raise hands. 


TEACHER: (Continued) 

of any feelings that might push 

us away? 

TEACHER : Scott? 

SCOTT : Being afraid could do that. 

TEACHER : It certainly could. 

Fear has kept lots of people 
from knowing lots of things. 

Iaura? 

LAURA : Or just feeling like... 
well, like a lot of people say 
sometimes: "It can't be done. 

There just isn't any way!" 

TEACHER : Exactly. A feeling of 
helplessness. And we might even 
say "hopelessness" in the face of 
the unknown. Is there perhaps 
one more? 


55- INTERIOR. DAY. STUDIO. 
(CLASSROOM) 

MS. Alice. Holding up her 
hand. 

Cut to: 


TEACHER : (VO) Yes, Alice? 

AT.TQE: Well.. .what about feeling 
like you know it all? That there 
isn't anything left to find out? 










12 - 


56. INTERIOR. MY. STUDIO. 
(CLASSROOM) 

MS. Teacher. Teacher 
demonstrates her idea of 
the scale with her hands 
as she talks. 


57* INTERIOR. MY. STUDIO. 
(CLASSROOM) 

MS. Students. Looking blank. 
Cut to: 


58. INTERIOR. DAY. STUDIO. 
(CLASSROOM) 

Wide Angle. Teacher and Students 


Teacher moves to globe. Turns it. 
Looks at it. 

Cut to: 


TEACHER: Or at least anything 
that’s worth knowing. A very 
good point. So what do we have 
here, boys and girls? A kind 
of balance scale, don’t we? On 
this side the feelings that push 
man toward knowing more than he 
knows. And on this side the 
feelings that push him away from 
knowing more. Now when these two 
forces...the forces FOR knowing... 
and the forces AGAINST knowing... 
are in balance...what happens? 

TEACHER: (VO) (A TRIFLE OVER¬ 
PLAYED FOR A SHARED JOKE). That’s 
right: nothing: 

GENERAL LAUGHTER. 

And until something happens to 
upset that equilibrium.. .to tip 
the scale toward knowing, "nothing" 
is what continues to happen: Now, 
let’s store this in the back of 
our minds as we move into our new 
area of investigation in science 
...new developments in oceano¬ 
graphy. 


- 13 - 


59- INTERIOR. MY. STUDIO. 
(CLASSROOM) 

CU. Globe. 

Cut to: 


60. INTERIOR. DAY. STUDIO. 
(CLASSROOM) 

CU. Faces. Looking, thinking 
Cut to: 


6 l. INTERIOR. DAY. STUDIO. 
(CLASSROOM) 

MS. Alice, looking as if she 
is searching for the answer. 
Then she answers. 

Cut to: 


62. INTERIOR. DAY. STUDIO. 
(CLASSROOM) 

MS. teacher 
Cut to: 


63 . INTERIOR. MY. STUDIO. 
(CLASSROOM) 

Another angle. Teacher. 
Cut to: 


6b. INTERIOR. MY. STUDIO. 
(CLASSROOM) 

MCU. David. 

Cut to: 


TEACHER * (VO) N&ter.. .water... 
everywhere! Now, is there any 
good reason why we should devote 
our valuable investigation time 
and attention to the ocean? 

TEACHER : (VO) Alice? 

ALICE : Well, it’s part of our 
environment. 

TEACHER : Yes, as a part of earth, 
the ocean is an area of great 
influence in our environment, 
isn’t it? Now, we've talked a 
great deal in these past months 
about man's relationship to his 
environment, haven't we? And 
what...in this relationship... 
did we decide had contributed 
much to the new developments in 
science. David? 

DAVID : Mkn's constant striving to 
learn about his environment and 


to control it. 






TEACHER : (VO) Utai-hm. And does 


INTERIOR. DAY. STUDIO. 
(CLASSROOM) 

CU. Scott. 


INTERIOR. DAY. STUDIO. 
(CLASSROOM) 

MS: Teacher 
Cut to: 


INTERIOR. DAY. STUDIO. 
(CLASSROOM) 

MS. Laura 
Cut to: 


INTERIOR. DAY. STUDIO. 
(CLASSROOM) 

WIDE ANGLE: Teacher and 
Pupils. 


oceanography have a place in 
this changing picture? Scott? 

SCOTT : Yes, ma'am! It's one of 
the newest and most active of all 
the science areas. Why, man has 
learned more about the ocean in 
the last twenty years than he's 
ever known before in all history! 

TEACHER : That's wonderful, isn't 
it? But it's also rather puzzling. 
(VERY MOCK SERIOUS) Unless, of 
course, the ocean is new. Is it? 
Laura? 

(CHILDREN LAUGH) 

LAURA : (GIGGLES) No, ma'am. 

It's millions...maybe even billions 
of years old. 

TEACHER : Well, then...we've got 
a problem, haven't we? Or maybe 
a couple of problems. Why has 
man waited all these centuries to 
explore the ocean depths? And 
why...now...has he so actively 
begun? Would we like to find out? 







PUPILS: Yes: 


- 15 


69 . INTERIOR. MY. STUDIO. 
(CLASSROOM) 

CU. Faces of children 
Ban shot 


70. INTERIOR. MY. STUDIO. 
(UBRAHX) 

MS. Boy consulting with school 
librarian, checking out book. 
Cut or dissolve to: 


71. INTERIOR. EVENING. HOME LIVING ROOM. 
MS. Girl looking over books on shelf, 
selects one, sits in chair to read. 

Cut or Dissolve to: 


72. INTERIOR. EVENING. BOY’s BEDROOM 
CU. (OVER SHOULDER) 

Boy making list of questions. 

Cut or Dissolve to: 


TEACHER: Good.' Let’s talk about 
this again tomorrow. From what 
we know now and the facts we shall 
have gathered by then...we ought 
to be able to hazard one or two 
pretty good guesses. Now, tonight, 
boys and girls... 

NARRATOR : (VO) To borrow a 
phrase from oceanography...Mrs. 
Arnold is taking soundings of 
knowledge and interest in her 
classroom. As she probes with 
picture s tudy, with music, with 
discussion... 

NARRATOR: (VO) With self-directed 
reading from the school library... 

NARRATOR: (VO) Or from the books 
at home... 

NARRATOR: (VO) With lists of 
questions made by the pupils... 
to be considered by the class... 







NARRATOR: (VO) With vocabulary 


- 16 

73 • INTERIOR. DAY. STUDIO. 

(CLASSROOM) 

WIDE ANGLE. Teacher at blackboard. 
Pupils in foreground. Vocabulary 
written on blackboard. 

Cut or Dissolve to: 


74. INTERIOR. DAY. STUDIO. 
(CLASSROOM) 

MS. Classroom and faces. 


75. INTERIOR. DAY. STUDIO. 
(CLASSROOM) 

MS. Narrator. 


7 6 . INTERIOR. DAY. STUDIO. 
(CLASSROOM) 

MS. Class with TV set in 
foreground. 


drill on words her pupils need 
to know... 

NARRATOR : (VO) She is searching 
out the peaks and valleys...the 
low-level arid stretches of non¬ 
awareness. . .which must be stirred 
up for future growth. 

The next day Mrs. Arnold led 
her pupils further into the 
preparation which would make their 
television lesson more meaningful. 
Working in harmonious tandem with 
the television teacher...toward 
shared goals clearly stated in 
the Teacher *s Guide...she explored 
with them the anticipated "what" 
of the lesson content...while 
broadening their vision toward 
the "how’s" and "why’s" of a 
larger concept about man’s 
learning and, thus, of course, 
their own. 

NARRATOR : (VO) I think now we are 
better prepared to rejoin Mrs Arnold 
and her class for the latter portion 


of the television lesson. 





17 


77* UNDERWATER SET 

MS. Teacher on tractor. 
Cut to: 


78. UNDERWATER SET. 

MS. Teacher on tractor. 
NEW ANGLE 


79. CU. Teacher. 


80. UNDERWATER SET. 
MS. Saucer. 
Pull back to: 


81. UNDERWATER SET. 

LS. Teacher on tractor. She 
leaves the tractor and moves 
to right foreground...as 
CAMERA PULLS BACK to reveal 
superstructure of ocean floor 
drilling rig...with TV lights 
and camera...and lines extending 
to the ship floating above. 

Cut to: 


82. UNDERWATER SET. 

CU. Superstructure of 
drilling rig. Teacher 
indicates lines and pipe 
reaching to the surface. 


TEACHER : And now that scientists 
have solved some of our problems 
of survival in the ocean...we re 
ready to explore some of the 
"practical promises" of the sea. 

TEACHER : As a result, the ocean 
is a very busy place. New 
discoveries being made every day.* 
New people coming and going.’ 

TEACHER : Some of the underwater 
vessels are always on the go... 
taking scientists and other guests 
on tours of exploration and 
observation. 

TEACHER : One of the most exciting 
things down here is the drilling 
method developed to get at the 
ocean’s enormous oil reserves. 

TEACHER : You see...here’s the 
drill working away right here... 
hundreds of feet down...and from 
up there...hundreds of feet up... 
the whole operation is being 
performed from an anchored ship 
by remote control. 







- 18 


TEACHER : (Continued) 


83 . UNDERWATER SET. 

CU. TV camera on drilling rig. 
Cut to: 


84. UNDERWATER SET. 

MS. Oil drilling rig. 
Cut to: 


85 . UNDERWATER SET. 

WIDE ANCLE. Teacher moves 
over to "big rock at left of 
screen. Leans against the rock. 


86. UNDERWATER SET. 

DIFFERENT ANGLE. Teacher. 


Who keeps watch and does the 
drilling? Not divers. It’s 
much too deep for them. No. 

The people on the ship do all 
that. How? 

TEACHER: Underwater TV cameras 
keep an eye on the drilling while 
the drillers sit comfortably on 
ship and watch just as you’re 
doing. 

TEACHER : It all looks pretty 
simple from here now, doesn’t it? 
But the problems were overwhelming 
for a while. What do you suppose 
some of them were? How do you 
suppose they were solved? 

TEACHER: Now, oil isn't the only 
source of wealth under the ocean. 
Already the ocean is well- 
represented in the sky...in 
magnesium from which most of our 
planes are built. 

TEACHER ; One of these years we 
may hear about a gold rush under 
the waves. Right now the 







19 


TEACHER : (Continued) 


Teacher reaches down, picks up 
lobster. 


87. UNDERWATER SET. 

CU. Lobster held by teacher. 
Cut to; 


88. UNDERWATER SET 
Ocean floor. 

MS. Teacher with lobster. 


She puts lobster on a rock. 


Teacher moves to nodule collector. 


89 . UNDERWATER SET. 

MS. Teacher with Manganese 
nodules. She picks up some 
of them. 

90. UNDERWATER SET 

CU. Mhnganese Nodule. 


recovery of gold from this 
enormous amount of water seems 
hopeless. But we may someday 
have some help from the ocean 
itself. 

TEACHER : For instance, cobalt 
is even scarcer than gold...but 
this clever fellow...the lobster 
....manages to extract it from the 
water. 

TEACHER : Perhaps...someday... 
we'll simply select marine 
plants and animals to do our 
mining for us. 

Or maybe we won’t need to 
bother with such trivial wealth. 
If you could look along vast 
bottom areas of the ocean... 
you would see something that 
looks like this. 

TEACHER: No. These aren't 
burned potatoes. They’re lumps 
of wealth beyond belief... 
mysteriously-formed nodules of 
minerals.. .10 million dollars 


worth to the square mile 







- 20 - 

TEACHER (Continued) 

All along the ocean floor they 

lie...these blackish bumps of 

treasure...just waiting to be 

scooped up...more mineral wealth, 

it’s said, than the human race 

has mined in all its history. 

How will they be scooped up? 

91. UNDERWATER SET. 

ART WORK. Nodule Collector 
Dissolve to: 

TEACHER: Perhaps by a nodule 

collector like this...proposed by 

Oceanographer John L. Mero. 

Only time will tell. But meanwhile, 

let's take a good look at this 

fabulous gadget. Without the 

propellers, gyros, and floats to 

keep the pipe positioned in the 

ocean depths...and the television 

cameras to spot nodules...it 

looks very much like something we 

already know. 

92. UNDERWATER SET. 

MCU. Vacuum leaner. 

Dissolve to: 

TEACHER: That's right, a vacuum 

cleaner. 

93* UNDERWATER SET. 

MS. Teacher. 

TEACHER: ...when the principles 

on which a vacuum cleaner operates 

are adapted to the specialized 


demands of this new environment, 






21 - 


Teacher gestures to the suction 
pump fishing apparatus in the left 
foreground as CAMERA PULLS BACK 
to reveal it. 


94. UNDERWATER SET. STUDIO. 

CAMERA. PULLS OUT as teacher 
•walks into frame and sits 
or leans on tractor. 

Cut to: 


95* UNDERWATER SET.. STUDIO. 
CU, Brittle Star. 

Cut to: 


96. UNDERWATER SET. STUDIO. 
CU, Starfish. 

Cut to; 


97- UNDERWATER SET. STUDIO. 
CU. Teacher. 

Cut to; 


TEACHER ; (Continued) 

It can be used in another way... 
to harvest fish on a fish farm. 

TEACHER : 

I'd like to have a fish farm. IF 
it weren't for the "weeds" eating 
up all the food. Does that sound 
strange? Well, many things down 
here are strange...and they get 
even stranger when man starts 
adapting his dry land ideas to 
the ocean. You see, "weeds" to a 
fish farmer aren't plants. They're 
tiny inedible creatures... 

TEACHER : Like this brittle star... 

TEACHER : And this star fish... 

TEACHER : Which, we are told, eat 
up all but a tiny percentage of 
the fish food in the sea. You 
need a tractor, all right, but to 
clear these weeds. I'll probably 
have to trade mine in on a pres¬ 
sure-proof submarine model. 







22 


98. UNDERWATER SET. STUDIO. 
MS. Teacher. 

Cut to: 


99. UNDERWATER SET. STUDIO. 
NEW ANGIE. Teacher. 

Cut to: 


100. UNDERWATER SET. 

ART WORK 

CLOSE TO CAMERA. A Laby whale 
slowly crosses the screen... 
f olioweci by the mother whale.. 


As the whale's head gets 
almost across the screen, 
it winks its eye. 


TEACHER : Even then, you know, 
fish farming wouldn't be easy. 

How can we get our fish-crops to 
"stay put" and grow...instead of 
swimming away? The answer, I 
understand from those who are 
experimenting in the field, is to 
fence them in. ..using what is known 
about how fish react to color, 
noise, and disturbed water. 

TEACHER : If this doesn’t work, 

I'll probably have to give up 
aquaculture. Of course, I might 
take up whale ranching. 

TEACHER: (VO) Obey say that 
could be very profitable in the 
future. Because in addition to 
everything else she has of value, 
the mother whale gives a ton of 
milk a day! 

Mkybe she'd even teach me to 
breauhe under water. I know 
scientists predict someday man 
can have gills imposed by surgery. 


But I don't think I want gills. 




101 . 


- 23 - 

TEACHER : (Continued) 

Whales don’t need them. I’d 
rather just get the whale to tell 
me her breathing secret. 

(DIRECTLY TO CAMERA...CONTEMPLA- 
TIVELY) 


What could it "be? 

Whale moves on to wipe screen. 

Fade out. 

LESSON SEGMENT ENDS 

Fade in: 

INTERIOR. DAY. STUDIO. NARRATOR : The television lesson 

(CLASSROOM) 

MCU. Narrator. (Class and is over. What do you as a class- 

teacher in far BG). 

room teacher do now? The answers 
will be found in the objectives 
of the television lesson...in 
the goals for which you and the 
television teacher share a mutual 
responsibility. It will help you 
more perhaps to ask yourself 
these direct and specific things. 
"What do we want to happen from 
this lesson and from what my class 
and I do with it? What behavior 
do we want to result? 

"What are the best ways to 
bring about such behavior...taking 


into account these children as 





NARRATOR : (Continued) 


- 2b - 


102. INTERIOR. DAY. STUDIO. 
ANOTHER ANGLE. Narrator. 


pupils and people...myself as a 
teacher and person...the nature 
of this lesson...and the conditions 
of our learning situation?” 

NARRATOR : Your immediate and 
short-range responsibility is to 
give the lesson its due. "Revisit¬ 
ing" the lesson with your class 
will help to reinforce its ideas, 
make its structure clear, high¬ 
light its spirit and appeal, 
straighten out misunderstandings. 

Let's look in on Mrs. Arnold and 
her class as they revisit their 
television lesson about oceans. 


103. INTERIOR. DAY. STUDIO. 

(CLASSROOM) 

CU. The word "oceans" being written 
on the blackboard, by Mrs. Arnold. 
(This is the last word in No. 4 of 
"Main Ideas,") The "Main Ideas" are 
listed on the blackboard...and 
around them are words, phrases, 
random statements, singly or in 
groups, marked through, joined by 
brackets or transitions to lines 
between '‘balloons, " etc...all this 
indicating efforts of Mrs. Arnold 
and class to coalesce and structure 
random thoughts and impressions from 
the television lesson. (SEE PAGE 
SHOWING BLACKBOARD CONTENTS.) 




- 25 - 


104. 


105- 


106 . 


107. 


CAMERA ON BLACKBOARD and continues 
to explore contents of Blackboard 
as teacher is heard off screen. 

Pull hack to see teacher. 


MS. Teacher and class 


The teacher moves to an easel 
near the blackboard to display a 
poster with the questions: 

"WHY HAS MAN WAITED SO LONG 
TO EXPLORE THE OCEAN DEPTHS?" 

"WHY NOW HAS HE SO ACTIVELY 
BEGUN?" 


INTERIOR. DAY. STUDIO. 
(CLASSROOM) 

CU. Poster bearing questions 


CAMERA in tight on first 
question. 

Cut to: 


INTERIOR. DAY. STUDIO. 
(CLASSROOM) 

(Shot continued next page) 


TEACHER : All right, class. We’ve 
talked about the main ideas in the 
lesson. We’ve explored briefly 
how the lesson as a whole made us 
feel . We’ve listed some of the 
surprises we found in it. Now as 
we check the lesson to see which 
of our questions were answered... 
and which ones we will need to 
explore further...let's remember 
the two big questions that started 
us on our investigation. 


TEACHER : (VO) Laura...will you 
read the first question! 

LAURA : (VO) Why has man waited 
so long to explore the ocean 
depths? 

TEACHER: (VO) Now, the second 
one...David...please. 





- 26 - 


CU: Poster bearing questions. 

CAMERA PANS DOWN to second question. 
Cut to: 

DAVID: (VO) Why...now...has 

he so actively begun? 

108. INTERIOR. DAY. STUDIO. 

(CLASSROOM) 

CU. The word “WHY?" on blackboard. 
Teacher writing. CAMERA pulls 
back to reveal teacher writing also: 

TEACHER: Yesterday, boys and 

girls, out of everything we knew, 

had read, had seen, had felt...we 

built ourselves a guess...a 

Knew - 

Felt - HYPOTHESIS 

Saw - 

Read - Guess 

hypothesis...a "we think 

probably" answer to these two 

important why’s. Now, we’re 

"We think probably-- 1 ' 

ready to check our guess against 

Observe - Explore - 
Experiment 

the facts as we find them in our 

television lesson...and elsewhere. 

CAMERA moves in to tight shot 
of teacher’s hands demonstrating 
scale. 

lap dissolve to: 

We were saying, weren’t we, that 

when the forces FOR knowing and 

the forces AGAINST knowing are in 

balance...man’s learning stops. 

That meant, we decided, that 

scientific exploration stops. And 

we guessed that THAT was what had 

happened about the ocean. But 

we said further that something 

had tipped the scales toward 

knowing...and that there were two 

ways this could happen. 

109. INTERIOR. DAY. STUDIO. 

(CLASSROOM) 

Balance Scale (constructed by 

BRYAN: (VO) (VOICE OVERLAPS 

TEACHERS) .. .two ways this could 




110 . 


- 27 - 

artist - perhaps paper sculpture) 
made by Bryan. The hanging sides 
hold paper balls or pieces of 
colored posterboard marked with 
the specific feelings. 

Cut to: 


INTERIOR. MY. STUDIO. 
(CLASSROOM) 

MCU. BRYAN with scales and 
book exhibit. As Bryan speaks, 
CAMERA EXPLORES this exhibit, 
which bears the slogan: WHAT 
TIPPED THE SCALES? 


CAMERA PULLS BACK AND PANS 
LEFT TO: 

ALICE...on other side of scales 
exhibit. 

Alice picks up a large paper 
ball labeled NEED. 

She shows inside this large 
ball smaller balls labeled: 
Population explosion 
Depletion of land resources 
Defense 


BRYAN : (Continued) 
happen. Either some feeling 
TOWARD knowing had been ADDED TO 
this side.. .making it heavier. Or 
some feeling AGAINST knowing had 
been TAKEN FROM this side...making 
it lighter. 

We asked ourselves what these 
things could have been...to bring 
on all the activity about the 
ocean. And to tell you what we 
guessed...here is another member 
of our committee...Alice Black... 

AT.TCE : Well, we guessed that the 
feeling which had been added to 
the TOWARD knowing side of the 
scale was man’s feeling of NEED... 
need for food...wealth...and 
security...brought on by the 
population explosion...the 
depletion of our resources on 
land...and danger of military 
attack. But some feelings had 
also been removed from the 


AGAINST knowing side of the scale 




- 28 - 


ALICE (Continued) 

making it lighter. Fear and help- 


111 . 


Alice demonstrates as she 
talks...lifting the colored 
paper balls cued to the 
narration...removing them 
from the scale. 


CAMERA MOVES IN ON BOOKS 
connected with exhibit. 


Fade out. 

Fade in. 

INTERIOR. BAY. STUDIO. 
(CLASSROOM) 

MS. Narrator, with class in 
background. 

Cut to: 


lessness had been removed by new 
inventions which helped man to 
operate more successfully in the 
ocean depths. The aqualung, for 
instance. And the underwater deep¬ 
diving and exploration vessels. 

And hopelessness had been removed 
by new encouraging discoveries. 

Nov/...to tell you how our Scales 
Exhibit Committee worked with the 
Library Committee.. .here (FADING) 
is another member.... 

NARRATOR : Because her pupils are 
with her all day...and because 
time, space, and scheduling are 
more flexible in the elementary 
classroom situation, Mrs. Arnold 
is able to explore some subject 
areas in considerable depth, where 
she feels this is in the best 
interests of her class. As interest 


in this new science area was 
widespread and enthusiasm was high; 




112 . 


113- 


114. 


- 29 - 


INTERIOR. MY. STUDIO. 
(CLASSROOM) 

MS. Bryan...standing by scales 
exhibit. Angle shot to include 
member of Library Committee, who 
is finishing her report. 


CAMERA PANS TO AND MOVES IN 
TIGHT ON SCALES. 

CAMERA PULLS BACK to open scene 
enough to include Bryan and girl 
who has just finished her report. 
Cut to; 


INTERIOR. MY. STUDIO. 
(CLASSROOM) 

CU. Alice at her desk. 


INTERIOR. DAY. STUDIO. 
(CLASSROOM) 

MCU. Scott at table... 
working on poster: 
SCIENCES IN THE SEA 


NARRATOR: (Continued) 
she took this opportunity to 
use her pupils' own special 
abilities to their fullest extent. 

TEACHER: (VO) Bryan works best 
with other children. His hands 
lead his mind...and we can depend 
upon him to demonstrate concretely 
...with artistic visuals... 
like the scales here... 
the abstract concepts toward which 
other children semetimes move 
more quickly.. .taking Bryan with 
them. 

TEACHER : (VO) Alice is our saddle 
burr...doubter...realist...sometime 
scoffer. We want to preserve her 
critical qualities...her "nose" 
for fallacies among the facts... 
while directing her reactions into 
more thoughtful and constructive 
channels. 

TEAMS; (VO) Scott is our 
vacuum cleaner.. .adapted to 
garnering information. He scoops 
up facts like a suction pipe 


harvesting fish 







30 


115- INTERIOR. DAY. STUDIO. 
(CLASSROOM) 

CU. (OVER SHOULDER) 

Poster: SCIENCES IN THE SEA 
Cut to: 


116. INTERIOR. DAY. STUDIO. 

CU. Mobile. David’s hands 
attaching to a hanging element 
that says "Briny” another 
hanging element. CAMERA pulls 
hack as David reaches for 
another hanging element. 

Cut to: 


117. INTERIOR, DAY. STUDIO. 

CU. Mobile element which 
says "Deep." Elements 
nearby contain information 
on depth of ocean.. .Marianas 
Trench.. .Continental Shelf. 


118. INTERIOR. DAY. STUDIO. 
MS. David checking next 
step in mobile. 

Cut to: 


119. INTERIOR. DAY. STUDIO. 

LS. Classroom door. Door 
opens. Laura enters...followed 
by custodian carrying heavy 
bronze statue, a drape of 
velvet, a painting. 

Cut to: 


TEACHER : (VO) In his hands, this 
poster and the notebook he is 
preparing to go with it will 
provide a comprehensive resource 
for the other pupils...impressing 
upon the maker and the users the 
whole complex of sciences repre¬ 
sented in Oceanography. 

TEACHER ; (VO) For David, words 
are the Pied Pipers enticing him 
into a consideration of "how’s" 

..."why’s"...and "what’s". His 
"Cliche Mobile" makes David and 
all of us take a new look at the 
tired and pallid generalities we 
have mouthed so long about the 
vivid, vigorous, forever old, 
forever new ocean. 

DAVID : ( TO HIMSELF... ENUMERATING 

ELEMENTS AND STRUCTURE AS HE CHECKS) 
Let’s see. "Briny." "How briny?" 
"Recovery of salt." Recovery of 
fresh water." Old methods...new 
methods. 





31 


120. INTERIOR. MY. STUDIO. 

(CLASSROOM) MS. Laura 
directing custodian to 
table across the classroom. 
Cut to: 


121. INTERIOR. MY. STUDIO. 
(CLASSROOM) 

MLS. Custodian and Laura 
arriving at table. He deposits 
his load and exits. Iaura 
arranges drape over statue. 
CAMERA PANS DOM as she 
leans to prop painting on 
floor against front of table. 
PANS UP as she straightens. 

Cut to: 


122. INTERIOR. MY. STUDIO. 
(CLASSROOM) 

CU. Laura. She is arranging 
some smaller art objects...a 
small vase...a small pot...a 
decorated box...some costume 
jewelry...on the drape. CAMERA 
IN TIGHT on table slogan which 
reads: DEEP OCEAN ART GALLERY. 
Treasures from Sunken Ships. 
Dissolve to: 


123. INTERIOR. MY. STUDIO. 
(CLASSROOM) 

WIDE ANGLE. One section of 
classroom only. "Career Day" 
tables set up in classroom. 

GROCERY STORE, with specialty 
foods from the sea. PHARMACY 
with iodine and antibiotics, 
etc. MEN'S CLOTHING STORE, 
with diving gear. CAMERA EXPLORES 
these tables, ending at table 


TEACHER: (VO) Laura...the 
eternal feminine...who could coax 
a lobster out of his shell.' 

TEACHER : Iaura vibrates to the 
present and the pleasant. The 
things she can see, hold, touch, 
smell...especially if it has a 
hint of the theater about it. 

TEACHER : Laura's older brother 
is the idol of her life. Small 
wonder that when Career Day at 
his high school happened to follow 
our television lesson, Iaura 
decided we must have a Career Day 
of our own...in the ocean's depths. 
And only Laura could have wheedled, 
smiled, and pouted the rest of the 
class along in the wake of her 
project "inspiration." 

TEACHER (VO) This is a bit 
fancier than our activities usually 
get. But the ocean for these 
landlocked children was a wonder¬ 
fully stimulating place. For me, 
their teacher, it presented an 






32 


TEACHER : (Cont inued) 


where boy in official-looking 
"uniform 1 * is talking to two 
’Visitors" from the class. unusual opportunity to move them 

Slogan on table reads: 

DEEP OCEAN CONTROL AUTHORITY toward insights into man’s 

Legal Advice Available. 

motivations, his visionary and 
practical natures, his driving 
urge to impose his human stamp 
upon the world around him.. .to 
move them toward open-mindedness 
leavened with critical judgment... 
and responsible behavior. 


(MUSIC: LA MER - DEBUSSY - FADE 
INTO BG.) 


CAMERA BEGINS TO PULL BACK AND JIM: (AT TABLE,. .TALKING TO 

UP FOR ELEVATED ANGLE SHOT. 

'VISITORS") Yes, we handle very 
important and difficult problems. 
Like who owns the ocean floor. 

We also advise with people who are 
thinking about changing ocean 
currents or moving fishing grounds 
or hauling icebergs. Even small 
changes in the movement or content 
or ocean waters, you know, (FADING) 
can have some very drastic and 
maybe terrible results. 



- 33 - 


CAMERA EXPLORES THE BUSY 
CLASSROOM...coming in on portion 
of classroom where television 
receiver can he seen. Not in 
close-up central emphasis here, 
hut as an integral part of the 
classroom picture. Camera 
moves to faces of children. 

Cut to; 


124. INTERIOR. DAY. STUDIO. 
UNDERWATER SCENE. 

Recap of portion of TV 
lesson. Full Screen. 

(No sound) 


Camera moves in on Ocean Depths. 
Dissolve to; 


NARRATOR; (VO) This is a 
learning environment4 It abounds 
in the resources from which lessons 
are made. Among these resources 
is television. 

TEACHER ; (VO) A resource which, 
in my experience as a classroom 
teacher, adds...to our classroom 
...dimensions we could attain in 
no other way. 

TEACHER; (VO) Here at my finger 
tips is the invaluable help of a 
trained and talented colleague who 
offers sound,carefully-planned 
learning materials of scope, 
impact, and immediacy. And...which 
is highly important...these are 
materials geared to our needs... 
directed toward educational goals 
I accept and value. In the learn¬ 
ing experience you have just 
shared, television made accessible 
to my pupils and me materials too 
recent to be available in our 
textbooks...presented in a way 
we cannot duplicate in the 
classroom...yet oriented to 




- 34 - 


125- INTER.. DAY. STUDIO. 
(CLASSROOM) 

High bulletin board of 
ocean scene. Camera pans 
to bulletin board bearing 
legend: 

”The possibilities of science 
do not lie on the earth or in 
outer space or down under the 
ocean. Hiey are inside human 
beings." 


TEACHER: (Cant inued) 
the best of classroom procedures. 
Do you wonder that I, as a class¬ 
room teacher who wants more for 
her pupils than any single 
teacher, working alone, can ever 
provide...do you wonder that I 
consider television at its best a 
valuable classroom asset? 


CAMERA PANS across bulletin 
boards as in opening sequence 
to reveal closing credits. 



UTILISATION PROJECT 


NATIONAL ASSOCIATION OF EDUCATIONAL BROADCASTERS under a Rrant-in-aid from 

UNI T ED STA TE D - OF F ICE O F’ EDUCATION. - 


FILM (SHOOTING SCRIPT) 

KIT NO. 5 - UTILIZING TELEVISION IN THE ELEMENTARY CLASSROOM 
(INTERMEDIATE SCIENCE LESSON - OCEANOGRAPHY) 
(Utilization Oriented Primarily to One Discipline) 
(Third Re 



Film Director: 

Earl Miller 

Film Unit - Radio/Television 
The University of Texas 
Austin, Texas 


Writer: 

Marye D. Benjamin 
KLRN-TV 

Southwest Texas Educational 
Television Council 
Austin, Texas 






UTILIZING TELEVISION IN THE ELEMENTARY CLASSROOM 


FADE IN 

SC, lc ECU - Objects in desk, thumb- 
tacks, paperclips, etc« 
Fingers come into frame and 
pick up thumbtacks, 

SC, 2* ECU - Section of bulletin 
board, Fingers come into 
frame with picture of ocean, 
thumbtacko Hand thumbtacks 
picture to displays "Moods 
of the Ocean", 

Camera pulls back - we see 
many pictures on bulletin 
board,,,HoId on Pictures 
for 3 ft, Start dolly 
again - Pull back past 
Narrator to see entire 
class - including TV set - 
Narrator is looking at class 
Turns to camera»o o 0 o o , 


Narrator walks to his place 
(OFF SET) Camera pans with 
him — Dolly in for fairly 
close shot — Camera stops,,, 


.1 

' f 

| Narrator turns in direction 
of class 

SjC, 3, INTERIORo DAY, CLASSROOM 
MS Teacher with poster 

(START BACKGROUND SOUND 
OF CLASS) 


SOUNDS FADE IN NATURAL BACK¬ 
GROUND SOUND OF CLASS 
ACTIVITY, 


NARRATOR S (ON CAMERA) This is 
a learning environment, 

• " 1 f : ' ■■ ■! W X L 1 t ' 

NARRATORS For nine months of one 
year it is the specialized habitat 
of these pupils,,,with their 
individual abilities,,,their par¬ 
ticular interests,,otheir specific 
needs,,, 

NARRATORS (VO) And of this tea¬ 
cher, who has her own personal 
values and special skills,,,,,An 


environment abounding in the mate¬ 
rials from which lessons are made. 






SC® 4 


INTERIOR® DAY® STUDIO 
CLASSROOM® CU® Textbook 
on table by boy ®s arm 0 

SC® 5® INTERIOR® DAY 0 CLASSROOM 
SET CU PHONOGRAPH 


SCo 6o INTERIORo DAY 0 STUDIO 0 
(CLASSROOM) 

CUo Motion picture projector 
Cut tog 

SCo 7 o INTERIORo DAY 0 STUDIOo 

(CLASSROOM) 

CUo Art supplies® 

Cut tog 

SC® 8® INTERIOR® DAY® STUDIO® 

(CLASSROOM) 

CUo Maps and globe® 

Cut tog 

SC® 9® INTERIOR® DAY® STUDIO 

MS® Classroom® With TV 
set in foregroundo 


SC® 10® INTERIOR® DAY® CLASSROOM 
SET MS Teacher looks at 
clock on wall 9 oo® Students 
are obviously getting set for 
the television lesson®®® 
adjusting chairs, etc®®® 


SC® 11® CU Narrator looks from class 
to camera (SYNC) 


narratorg (VO) A lesson may be 
forming here®®® 

NARRATORS (VO) Or here®®® 

NARRATORg A lesson may be wait¬ 
ing here®«® 

Narratorg Stirring here®®® 

NARRATORg Emerging here®®® 

NARRATORg (VO) And a lesson 
certainly will be coming to life 
here® For this classroom®®®rich 
in resources®®®counts among its 
blessings one of the latest®®® 
and j POTENTIALLY, one of the 
greatest®®®of these resources®®® 
television® 

NARRATORg (VO) Here television 
is used as a major resource in 
some subjectso®®for enrichment 
in others® ® ® 

NARRATORg (OS) WHen the dial 
is turned 9 it summons into this 
classroom another member of the 
teaching team®®®one whose primary 








- 3 - 


SC. 11. (CONT'D) 

NARRATORS CONT'D 

responsibility is the imaginative,, 

well-documented 9 carefully-pre¬ 
pared presentation of subject 

matter..« 

Narrator turns toward class 

Welloo.the time is now... 

SC. 12o INTERIOR CLASSROOM SET 

MS GROUP of pupils watching 

TV 

NARRATOR? (VO) Every eye is on 

the screen... 

SCo 13 0 CUs (MATTE SHOT) TV SCREEN 
with TITLE on screeno 
”NEW NOTIONS ABOUT OCEANS” 

NARRATOR: (VO) And the televi- 

sion teacher enters the classroom! 

SCo 14o UNDER WATER SETo (MATTE SHOT) 
(SYNC) 

MLSo Television Teacher 

TV TEACHER: (OS) I iust saw a 

baby who drinks a ton of milk a 

She gestures toward baby 
whale cut-outo 

day l Where? 

SCo 15. UNDERWATER SET (MATTE SHOT) 
(SYNC) 

CUo Baby whale cut-out 

TV TEACHERS (VO) Right here...in 

the depths of the briny 9 treacher¬ 
ous 9 beautiful^ vast 9 and fertile 

ocean. 

SC. 16o UNDERWATER SET. (MATTE 

SHOT) (SYNC) 

CUo TV Teacher. 

TV TEACHERS (OS) How did I get 

here? I got here the same way 

YOU get lots of places YOU want 

to be.ooBy imagination2 

SCo 17o INTERIOR. CLASSROOM SET. 

(SYNC)o 

MSo Children watching TV. 

CQNT ff D 

TV TEACHER CONTINUESs (VO) And 

there is plenty of room for 







4 - 


SCo 17 * Continued § CAMERA starts 
to pull backoo*past 
NARRATOR who is watching 
classo As we pass NARRATOR, 
he turns to camera 0 

Narrator walks to his spotooo 
Camera pans with him** 0 He turns 
to camera (SYNC) (SOUND 
OF CLASS AND TV LESSON FADES 
AS NARRATOR GETS OFF SET) 


Notes Tv teacher can con¬ 
tinue talking about pressure 
cooker etc 0 * 0 0 
Narrator gestures toward 
class o 


TV TEACHER C0NT 9 D 
imagination in this strange new 
world of water***etc* 

NARRATOR (OS) We may be giving 
you a false impression* Utili¬ 
zation of this television lesson 
involves more than turning on 
that receivera Learning doesn 9 t 
emerge with the simple click of a 
switch****Television can bring 
the child and the lesson together 
But there it stops <> The class¬ 
room teacher must apply the glue 
to make that lesson stick* 


SC* 18* ECUs NARRATOR (HEAD SHOT - 
SYNC) 


DISSOLVE ON WORD - MUSIC 

SC* 19o INTERIOR* CLASSROOM SET 

(ANOTHER DAY) CLOTHES CHANGE 
FOR EVERYONE BUT NARRATOR 
ECUs Debussy record spinning* 0 
needle should be on about the 
last 20 seconds of record¬ 
ing* * * 


SC* 20* 2 shot Boy and girl listen¬ 

ing to record 

SC* 21* CU Boy listening 

SC* 22* CU Girl listening 

SC* 23* CU Another boy listening 


NARRATORS (OS) Let 9 s go back a 
few days to watch Mrs* Arnold, a 
skillful teacher, at work* Let 9 s 
see how she used music to intro¬ 
duce a new science topic to her 
class * 

NOTE g SOUND OF RECORD DISSOLVES 
IN TO BACKGROUND LEVEL UNTIL 
NARRATOR FINISHES LINE** * **THEN UP 
TO FULL LEVEL**** 



SCc 24 


MLS Children listen¬ 
ing to music 


- 5 ~ 


SC« 25» MS Teacher at table» As 

music stops, teacher reaches 
to shut off record player,, 


TEACHER ? All right, boys and 
girls a While the mood of Debussy 8 s 
music of the sea is still with us, 


tell me, just were did that music 

NOTE s SHOOT EACH PERSON BEING ASKED 

A QUESTION AND THE SAME PERSON take you? 

GIVING THE ANSWERo „„„SHOOT THE 
SAME PERSON ASKING THE QUESTION 
AND LISTENING TO THE ANSWER,, „ 0 . 


SCc 26o INTERIORo DAY 0 STUDIO 
(CLASSROOM) 

CUo Laura 
Cut tos 

SCc 27c INTERIORo DAY 0 STUDIO 
(CLASSROOM) 

CUo Teacher 0 
Cut tos 

SCc 28 o INTERIOR,, DAYo STUDIO 
(CLASSROOM) 

CUo Bryano 
Cut to? 

SCc 29o INTERIORo DAY 0 STUDIO. 
(CLASSROOM) 

CUo Scott 


SCo 30o INTERIORo DAY 0 STUDIO. 
(CLASSROOM) 

WIDE ANGLEo Teacher and a 
section of the class 0 
Cut tos 





LAURA ; To the Gulf of Mexico 0 

TEACHER : Bryan? 

BRYAN s To the sandy beaches of 
the Bahama Islands» 

TEACHER ? (VO) Scott? 

SCOTT g To the very bottom of the 
Marianas Trench• 

TEACHER S David? How about you? 
DAVID ? (VO) To the roaming edge 
of the worldo 

TEACHER g That 8 s an exciting 
phraseo„ 0 though we don't know 
exactlv where that is, do we? But 

3 .,,.: ‘ 

1 noticed that some of you men¬ 
tioned somp very specific places, 










- 6 - 


SC, 30, CONT 9 D 


SC, 31, tnterior, DAY, STUDIO, 
(CLASSROOM) 

CU, Laura, 

Cut tos 


SC, 32, INTERIOR, DAY, STUDIO, 
(CLASSROOM) 

CU, Bryan, 

Cut to, 

SC, 33, INTERIOR, DAY, STUDIO, 
(CLASSROOM) 

MCU, Teacher 
Cut tos 


SC, 34, INTERIOR, DAY, STUDIO, 
(CLASSROOM) 

CU, Alice 
Cut tos 


SC, 35, INTERIOR, DAY, STUDIO, 
(CLASSROOM) 

WIDE ANGLE, Teacher and 
pupils. 


SC, 36, INTERIOR, DAY, STUDIO 
(CLASSROOM) 

MS, Scott, 

Cut tos 


TEACHER S CONT ®D 

Do you know these places from 

your own experience? 

LAURAs I®ve been to the Gulf of 
Mexico, 

TEACHERS (VO) Good, How about 
the Bahama Islands? Bryan? 

BRYAN s My grandfather 9 s been 
there, and he told me about 'em, 

TEACHERS I see. And that's a 
good way to learn, isn’t it, 
class? By listening when informed 
people talk, 

Alices (VO) Mrs, Arnold, 

TEACHERS Yes, Alice? 

ALICES 1 9 11 bet Scott hasn't 
been to the bottom of the 
Marianas Trench, 

GENERAL LAUGHTER, 

TEACHERS Only by music. But 
somebody has. Who was it, IScott? 
Do you know? 

SC OTTs Walsh and Piccard, They 
went down in the Trieste, 











- 7 - 


SC, 36 * CONT’ D 


SC. 37 « INTERIOR* DAY, STUDIOo 
(CLASSROOM) 

WIDE ANGLE. Teacher and 
pupils o 
Cut tog 


Sc* 38. INTERIOR® DAY, STUDIO 
(CLASSROOM) 

MS, Pupils with no reaction 

SC. 39, INTERIOR, DAY, STUDIO, 
(CLASSROOM) 

MS, Teacher 


SC, 40, INTERIOR, DAY, STUDIO 
(CLASSROOM) 

MS, Pupils react yes 

SC, 41, INTERIOR, DAY, STUDIO, 
(CLASSROOM) 

MS, Teacher 


SC, 42, INTERIOR, DAY, STUDIO, 
(CLASSROOM) 

CONT’ D 


SCOTT g CONT * D 

35 9 7 80 feet. To the deepest 
known spot in the world, 

TEACHERg And Scott has reminded 
us that we can explore and ob¬ 
serve by reading the reports of 
reliable scientists. Is that 
an accepted scientific way to 
add to our own experience? 

PUPILSg Yes l 

TEACHER; Indeed it is l Now* 
how about some other ways? 


TEACHER; How about the music 
we heard 9 for instance? That 
adds to our experience» doesn’t 
it? 

TEACHERg But it doesn’t give 
us facts, does it? David? 

DAVID; (VO) No, Ma’am, Just.,, 
well, I guess you’d say”feelings" 

TEACHER; Yes. And what else has 
given us feelings and impressions 








8 - 


SC, 42c CONTD 

MS o Teacher 

Cut tos 


SC, 43„ .MTERIOR* DAY* STUDIO, 

(CLASSROOM) 

MS. Laura 
Cut to 5 


TEA CHER (Cont'd) 
about the ocean? 

LAURAs 0h ? I know! The pictures 
we looked at* “The Big Wave” , 


and that other one 



9 


■ O' 

SC. 44. INTERIOR. DAY. STUDIO. 
(CLASSROOM) 

MS. Bryan. 

Cut to: 


SC. 45. INTERIOR. DAY. STUDIO. 
(CLASSROOM) 

MS. Teacher. 

Cut to: 


SC. 46. INTERIOR. DAY. STUDIO. 
(CLASSROOM) 

MS. Two or three students, 
looking slightly puzzled. 
Cut to: 


SC. 47. INTERIOR. DAY. STUDIO. 
(CLASSROOM) 

MCU. Scott. 

Cut to: 


SC. 48. INTERIOR. DAY. STUDIO. 
(CLASSROOM) 

MS. Teacher. 


SC. 49. INTERIOR. DAY. STUDIO. 
(CLASSROOM) 

MCU. Alice. 

Cut to: 


BRYAN: That good one. By Winslow 

Homer* "Fog Warning." I liked 
that I 

TEACHER: So did I, Bryan. It 

gave us a strong feeling about the 
sea, didn’t it? Along with some 
information through our eyes. 
(PAUSE) Tell me somethings boys 
and girls. Does how we feel ever 
affect what we know? 


TEACHER: (VO) Let me put it this 

way. Can you think of a feeling 
that might make you want to know 
more about something? Scott? 

SCOTT: Well, if I’m ’specially 

interested in something or excited 
about it*..I want to know more. 

TEACHER: That’s very good thinking. 

Anybody else have any other ideas? 
Alice? 

ALICE: If you feel like somebody’s 

gonna get ahead of you...like the 
Russians or the French or the 
Chinese, or somebody...you want 
to know all you can. 








10 - 


SC. 50. INTERIOR. DAY. STUDIO. 
(CLASSROOM) 

MS. Teacher. 

Cut to: 


TEACHER: That’s right. A feeling 

of competition urges us toward 
knowing and learning, doesn't it? 
Yes, David? 


SC. 51. INTERIOR. DAY. STUDIO. 
(CLASSROOM) 

MCU. David. 

Cut to: 


SC* 52. INTERIOR. DAY. STUDIO, 
(CLASSROOM) 

CU. Bryan. 


SC. 53. INTERIOR. DAY. STUDIO. 
(CLASSROOM) 

MS. Teacher. Over shoulder 
shot revealing a few students 
Cut to: 


DAVID: Well, how about just wanting 
to know something because you like 
to know things? 

TEACHER: (VO) Yes' For some 

people the sheer joy of learning 
can give a big push toward knowledge 
can't it, David? Do you have anothe: 
feeling in mind, Bryan? 

BRYAN: I thought maybe the feeling 

that it was brave and daring to 
find out about the unknown. 

TEACHER: Yes! Excellent. The 

spirit of adventure. Now, all 
these feelings push us toward 
knowing, don't they? Can we think 
of any feelings that might push 
us away? 


SC. 54. INTERIOR, DAY. STUDIO. TEACHER: Scott? 

(CLASSROOM) - • 

Wide angle. Teacher and 

students• Teacher calls on SCOTT: Being afraid could do that, 

students as they raise hands. 


TEACHER: It certainly could. Fear 

has kept lots of people from knowing 
lots of things. Laura? 










SC. 55. INTERIOR. DAY. STUDIO, 
(CLASSROOM) 

MS. Alice. Holding up her 
hand. 

Cut to: 


SC. 56. INTERIOR. DAY. STUDIO. 
(CLASSROOM) 

MS. Teacher. Teacher 
demonstrates her idea of 
the scale with her hands 
as she talks. 


- il - 

LAURA: Or just feeling like... 

well, like a lot of people say 
sometimes: "It can’t be done. 

There just isn’t any way!" 

TEACHER: Exactly. A feeling of 
helplessness. And we might even 
say ’’hopelessness” in the face of 
the unknown. Is there perhaps 
one more? 

TEACHER: (VO) Yes, Alice? 

ALICE: Well...what about feeling 

like you know it all? That there 
isn’t anything left to find out? 

TEACHER: Or at least anything 

that’s worth knowing. A very 
good point. So what do we have 
here, boys and girls? A kind of 
balance scale, don’t we? On this 
side the feelings that push man 
toward knowing more than he knows. 
And on this side the feelings that 
push him away from knowing more. 

Now when these two forces...the 
forces FOR knowing...and the forces 
AGAINST knowing...are in balance... 
what happens? 







- 12 - 


SC. 57. INTERIOR. DAY. STUDIO. 
(CLASSROOM) 

MS. Students. Looking blank. 
Cut to: 


SC. 58. INTERIOR. DAY. STUDIO. 
(CLASSROOM) 

Wide Angle. Teacher and 
Students. 


Teacher moves to globe. 
Turns it. Looks at it. 
Cut to: 


SC. 59. INTERIOR. DAY. STUDIO. 
(CLASSROOM) 

CU, Globe. 

Cut to: 


SC. 60. INTERIOR. DAY. STUDIO. 
(CLASSROOM) 

CU. Faces. Looking, thinking 
Cut to: 


TEACH1R: (VO) (A TRIFLE OVER¬ 

PLAYED FOR A SHARED JOKE). That’s 
right! NOTHING! 

GENERAL LAUGHTER. 

TEACHER: And until something 

happens to upset that equilibrium, 
to tip the scale toward knowing, 
"nothing” is what continues to 
happen! Let’s store this in the 
back of our minds as we move into 
our new area of investigation in 
science...new developments in 
oceanography. 

TEACHER: (VO) Water...water... 

everywhere! Now, is there any 
good reason why we should devote 
our valuable investigation time 
and attention to the ocean? 

TEACHER: (VO) Alice? 


SC. 61. INTERIOR. DAY. STUDIO. 
(CLASSROOM) 

MS. Alice, looking as if she 
is searching for the answer. 
Then she answers. 

Cut to: 


SC. 62. INTERIOR. DAY. STUDIO. 
(CLASSROOM) 

MS. Teacher. 

Cut to: 


ALICE: Well, it’s part of our 

environment. 

TEACHER: Yes, as a part of earth, 

the ocean is an area of great 








13 


SC. 63. INTERIOR. DAY. STUDIO. 
(CLASSROOM) 

Another angle. Teacher. 
Cut to; 


SC. 64. INTERIOR. DAY. STUDIO. 
(CLASSROOM) 

MCU. David. 

Cut to; 


SC. 65. INTERIOR. DAY. STUDIO. 
(CLASSROOM) 

CU. Scott. 


SC. 66. INTERIOR. DAY. STUDIO. 
(CLASSROOM) 

MS; Teacher. 

Cut to; 


TEACHER; (Continued) 
influence in our environment, 
isn’t it? Now, we’ve talked a 
great deal in these past months 
about man’s relationship to his 
environment, haven’t we? And 
what...in this relationship... 
did we decide had contributed 
much to the new developments in 
science? David? 

DAVID; (PARROTING A POINT WELL 
LEARNED.) Man’s constant striving 
to learn about his environment and 
to control it. 

TEACHER; (VO) Um-hm. And does 
oceanography have a place in this 
changing picture? Scott? 

SCOTT; Yes, ma’am! It’s one of 
the newest and most active of all 
the science areas. Why, man has 
learned more about the ocean in 
the last twenty years than he’s 
ever known before in all historyl 

TEACHER; That’s wonderful, isn’t 
it? But it’s also rather puzzling. 
(VERY MOCK SERIOUS) Unless, of 
course, the ocean is new. Is it? 
Laura? 








14 - 

(CHILDREN LAUGH) 


SC, 67. INTERIOR. DAY. STUDIO. 
(CLASSROOM) 

MS. Laura. 

Cut to: 


SC. 68. INTERIOR. DAY. STUDIO. 
(CLASSROOM) 

WIDE ANGLE: Teacher and 
Pupils. 


SC. 69. INTERIOR. CLASSROOM SET. 

MLS. Faces of children. 


SC. 70. CU Teacher. 


DISSOLVE TO 


SC. 71. LS kids getting out of school 
(no one recognizable) 


LAURA: (GIGGLES) No, ma’am. 

It’s millions...maybe even billions 
of years old. 

TEACHER: Well, then...we’ve got 

a problem, haven’t we? Or maybe 
a couple of problems. Why has 
man waited all these centuries to 
explore the ocean depths? And 
why...now...has he so actively 
begun? Would we like to find out? 

PUPILS: Yes! 

TEACHER: Good! Let’s talk about 

this again tomorrow. From what 
we know now and the facts we shall 
have gathered by then... we ought 
to be able to hazard one or two 
pretty good guesses. Now, after 
school, boys and girls...I want 
you to oo etc...etc....etc... 

NARRATOR: (VO) To borrow a phrase 

from oceanography...Mrs. Arnold 
was taking soundings of knowledge 
and interest in her classroom. 

As she probed with picture study, 
music, and discussion.... 







15 - 


DISSOLVE 

SC. 72. INTERIOR. LIBRARY. NARRATOR; (VO) With self- 

MS. Boy consulting with school 


librarian, checking out book. 


DISSOLVE 

SC. 73. INTERIOR. EVENING. HOMB 
LIVING ROOM. 

MS. Girl looking over books 
on shelf, selects one, sits 
in chair to read. 


DISSOLVE 

SC. 74. INTERIOR. EVENING. BOY ? S 
BEDROOM. 

CU. (OVER SHOULDER) 

Boy making list of questions. 


DISSOLVE 

SC. 75. INTERIOR CLASSROOM SET. 

CU. Narrator (in his spot - 
sync) 


NOTE; Clothes change for 

everybody but Narrator. 


Narrator gestures toward 
class. 


SC. 76. INTERIOR CLASSROOM SET (SYNC). 
MS. Narrator turns back to 
camera. 


directed reading from the school 
library... 

NARRATOR; (VO) Or from the books 
at home...... 

NARRATOR; (VO) With lists of 
questions made by the pupils... 
to be considered by the class... 

NARRATOR; (Sync) With vocabulary 
drill on words her pupils needed 
to know...she was searching out 
the peaks and valleys...the low- 
level arid stretches of non¬ 
awareness .. .which must be stirred 
up for future growth. 

NARRATOR; (OS) The day before the 
lesson, Mrs. Arnold led her pupils 
further into the preparation which 
would make their television lesson 
more meaningful. Working in 
harmonious tandem with the tele¬ 
vision teacher...toward shared 
goals clearly stated in the Teacher* 
Guide... 







16 - 


SC. 77. INTERIOR CLASSROOM SET. 

CU. Good tight shots of 
pupils. 


SC. 78. INTERIOR CLASSROOM SET (SYNC) 
MS. Narrator (in his spot) 
he gestures toward TV set. 


NOTEs Same cothes as at 
beginning of film. 


NARRATORs (Continued) 
she explored with them the anti¬ 
cipated M what ,T of the lesson con¬ 
tent... .while broadening their 
vision toward the "how's" and 
"why's" of a larger concept about 
man's learning and, thus, of 
course, their own. 

NARRATORs (OS) I think now we 
are better prepared to rejoin Mrs. 
Arnold and her class on viewing 
day for the latter portion of the 
television lesson. 




17 


SGi, 79. UNDERWATER SET NATURAL SOUND 

LS..TV TEACHER RIDES TRACTOR 
ONTO SET 


SC. 80. UNDERWATER SET. 

MS. Teacher near on tractor 
Cut tot 


sq. si* UNDERWATER SET. 

MS. Teacher on tractor 
NEW ANGLE 


SC. 82. CU. Teacher. 

(Gestures toward saucer) 


SC. 83. UNDERWATER SET. 
MS. Saucer. 
Pull back tot 


TEACHER; And now that scientists 
have solved some of our problems 
of survival in the ocean...we s re 
ready to explore some of its 
"practical promises". 

TEACHER; As a result, the ocean 
is a very busy place. New 
discoveries being made every day! 
New people coming and goingl 

TEACHER; Some of the underwater 
vessels are always on the go... 
taking scientists and other guests 
on tours of exploration and 
observation. 


SC. 84. UNDERWATER SET. 

LS. Teacher on tractor. She 
leaves the tractor and moves 
to right foreground.„.as 
CAMERA PULLS BACK to reveal 
superstructure of ocean floor 
H drilling rig...with TV lights 

and camera.. .ai^d lines extend¬ 
ing to the ship floating above 
Cut to; 


SC. 85. UNDERWATER SET. 

CU. Superstructure of 
drilling rig. Teacher 
indicates lines and pipe 
reaching to the surface. 


TEACHER One of the most exciting 
things down here is the drilling 
method developed to get at the 
ocean's enormous oil reserves* 

TEACHER; You see...here*s the 
drill working away right here... 
hundreds of feet down...and from 
up there...hundreds of feet up... 
the whole operation is being 







- 18 - 



TEACHER: (Continued) 

performed from an anchored ship 

by remote control. 

Who keeps watch and does the 

drilling? Not divers. It’s 

much too deep for them. No. 

The people on the ship do all 

that. How? 

SC. 86. UNDERWATER SET. 

CU. On drilling rig. 

Cut to; 

TEACHER; Underwater TV cameras 

keep an eye on the drilling while 

the drillers sit on the ship and 

watch the drilling on television 

just as you*re doing. 

SC. 87. UNDERWATER SET. 

MS. Oil drilling rig. 

Cut to; 

TEACHER; It looks pretty simple 

from here now, doesn*t it? But 

the problems were overwhelming 

for a while. What do you suppose 

some of them were? How do you 

suppose they were solved? 

SC. 88. UNDERWATER SET. 

WIDE ANGLE. Teacher movfes 
over to big rock at left of 
screen. Leans against the 
rock. 

TEACHER; Now, oil isn*t the only 

source of wealth under the ocean. 

Already the ocean is well- 

represented in the sky.„.in 

magnesium from which most of our 

planes are built. 

SC. 89. UNDERWATER SET. 

DIFFERENT ANGLE. Teacher. 

TEACHER; One of these years we 


may hear about a gold rush under 






TEACHER: (Continued) 


Teacher reaches down, picks 
up lobster. 


SC. 90. UNDERWATER SET. 

CU. Lobster held by teacher 
Cut to: 


SC. 91. UNDERWATER SET. 

Ocean floor. 

MS. Teacher with lobster. 


She puts lobster on a rock. 


Teacher moves to nodule 
collector. 


SC. 92. UNDERWATER SET. 

MS. Teacher with Manganese 
nodules. She picks up some 
of them. 

SC. 93. UNDERWATER SET. 

CU. Manganese Nodule. 


the waves. Right now the recovery 
of gold from this enormous amount 
of water seems hopeless. But we 
may someday have some help from 
the ocean itself. 

TEACHER: For instance, cobalt is 
even scarcer than gold...but this 
clever fellow...the lobster... 
manages to extract it from the 
water. 

TEACHER: Perhaps...someday... 

we’ll simply select marine plants 
and animals to do our mining for 
us. 

Or maybe we won’t need to 
bother with such trivial wealth. 

If you could look along vast bottom 
areas of the ocean...you would see 
something that looks like this. 

TEACHER: No. These aren’t burned 

potatoes. They’re lumps of wealth 
beyond belief...mysteriously- 
formed nodules of minerals... 

10 million dollars worth to the 
square mile. All along the ocean 
floor they lie...these blackish 






20 - 


SC. 94. UNDERWATER SET. CUT-OUT. 
Nodule Collector. 


SC. 95. UNDERWATER SET. 

MCU. Vacuum cleaner. 


SC. 96. tJNDERWATER SET. 
MS. Teacher. 


Teacher gestures to the 
suction pump fishing 
apparatus in the left 
foregound as CAMERA PULLS 
BACK to reveal it. 


SC. 97. UNDERWATER SET. STUDIO. 

CAMERA PULLS OUT as teacher 
walks into frame and sits 
or leans on tractor. 

Cut to: 


TEACHER: (Continued) 

bumps of treasure...more mineral 
wealth, it’s said, than the human 
race has rained in all its history. 
How will they be scooped up? 

TEACHER: Perhaps by a nodule 

collector like this...proposed by 
Oceanographer John L. Mero. Only 
time will tell. Let’s take a good 
look at this fabulous gadget. 
Without the propellers, gyros, and 
floats to keep the pipe positioned 
in the ocean depths...and the 
television cameras to spot nodules 
...it looks very much like some¬ 
thing we already know* 

TEACHER: That’s right, a vacuum 
cleaner. 

TEACHER: ...when the principles 

on which a vacuum cleaner operates 
are adapted to the specialized 
demands of this new environment. 

The vacuum cleaner principle can 
be used in another way...to 
harvest fish on a fish farm. 

TEACHER: I T d like to have a fish 

farm. IF it weren’t for the ’’weeds” 
eating up all the food. Does that 







21 


TEACHER; (Continue!) 
sound strange? Well, many things 
down here are strange...and they 
get even stranger when man starts 
adapting his dry land ideas to the 
ocean. You see, "weeds" to a fish 
farmer aren’t plants. They * re tiny 
inedible creatures... 

SC. 98. UNDERWATER SET.. STUDIO. TEACHER: Like this brittle star... 

CU. Brittle Star. 

Cut to: 


SC. 99. UNDERWATER SET. STUDIO. 
CU. Starfish. 

Cut to: 


SC. 1Q0. UNDERWATER SET. STUDIO. 
CU. Teacher. 

Cut to: 


SC. 101. UNDERWATER SET. STUDIO. 
MS. Teacher. 

Cut to: 


TEACHER: And this starfish... 

TEACHER: Which, we are told, eat 

up all but a tiny percentage of 
the fish food in the sea. You 
need a tractor, all right, but to 
clear these weeds, 1*11 probably 
have to trade mine in on a pressure- 
proof submarine model. 

TEACHER: Even then, you know, fish 

farming wouldn’t be easy. How can 
we get our fish-crops to "stay 
put" and grow...instead of swimming 
away? The answer, scientists think, 
may be to fence them in...using 
what is known about how fish react 
to color, noise, and disturbed water. 








22 - 


SC. 102. UNDERWATER SET. STUDIO. 
NEW ANGLE. Teacher. 

Cut to: 


SC. 103. UNDERWATER SET. 

ART WORK 

CLOSE TO CAMERA. A baby 
whale (cut-out) slowly 
crosses the screen... 
followed by the mother 
whale (cut-out)... 


As the whale’s head gets 
almost across the screen, 
it winks its eye. 


Whale moves on to wipe screen 
Fade out. TV SCREEN 


TEACHER: If this doesn’t work. 

I’ll probably have to give up 
aquaculture. Of course, I might 
take up whale ranching. 

TEACHER: (VO) They say that 

could be very profitable in the 
future. Because in addition to 
everything else she has of value, 
the mother whale gives a ton of 
milk a dayl 

Maybe she’d even teach me to 
breathe under water. I know 
scientists predict someday man 
can have gills imposed by surgery 
But I don’t think I want gills. 
Whales don't need them. I’d 
rather just get the whale to tell 
me her breathing secret. 

(DIRECTLY TO CAMERA...COMTEMPLA- 
TIVELY) 

What could it be? 

SHORT CURTAIN MUSIC.... 


CUT T0: LESSON SEGMENT ENDS 


SC. 104. INTERIOR. DAY. STUDIO. (SYNC) NARRATOR: The television lesson 
(CLASSROOM) - - — 

CU: NARRATOR (HEAD SHOT-SYNC) is over. What do you as a class¬ 
room teacher do now? The answers 








23 - 

NARRATOR: (Continued) 


NOTE: NARRATOR HAS TO BE 
VERY FORCEFUL HERE.. 
HE HAS TO CARRY THIS 
PART ALONE. 



SC. 105. 


fcf r • , v * V. .< « . ■ a 

MS. NARRATOR (HEAD AND 
SHOULDER SHOT) (SYNC) 


will be found in the objectives 
of the television lesson...in 
the goals for which you and the 
television teacher share a mutual 
responsibility. It will help you 
more perhaps to ask yourself these 
direct and specific things- "What 
do we want to happen from this 
lesson and from what ray ciciss^and*? 
I do with it? What behavior do we 
want to result? 


NARRATOR : (OS) "What are tiie best 

ways to bring about such behavior... 
taking into account these children 
as pupils and people...myself as 
a teacher and person...the nature 
of this lesson...and the conditions 


SC; .106. INTERIOR. DAY. STUDIO; 

Kfo frjf* 

CU: NARRATOR (HEAD SHOT - 
SYNC) 


NARRATOR; Your immediate and . ,j i( „ l; , ; 
short-range responsibility is to 
give the lesson its due. "Revisit¬ 
ing" the lesson with your class 
will help to reinforce its ideas, 
make its structure clear, high¬ 
light its spirit and appeal, 
straighten out misunderstandings. 








24 - 


NARRATOR: (Continued) 

Let's look in on Mrs. Arnold and 
her class as they revisit their 

FADE OUT television lesson about oceans.... 

SC. 107. FADE IN 

INTERIOR. DAY. STUDIO. 

(CLASSROOM) 

CU. The word ’’oceans" being 
written on the blackboard by 
Mrs. Arnold. ("This is the 
last word in No. 4 of "Main 
Ideas' 1 .) The "Main Ideas" 
are listed on the blackboard 
...and around them are words, 
phrases, random statements, 
singly or in groups, marked 
through, joined by brackets 
or transitions to lines 
between "balloons", etc.... 
all this indicating efforts 
of Mrs. Arnold and class to 
coalesce and structure random 
thoughts and impressions from 
the television lesson. (SEE 
PAGE SHOWING BLACKBOARD CONTENTS.) 


SC. 108. CAMERA ON BLACKBOARD and 
continues to explore con¬ 
tents of blackboard as 
teacher is heard off screen. 

Pull back to see teacher. TEACHER: All right, class. We 

And all necessary props 

already on set. talked about the main ideas in the 

television lesson. We've explored 
briefly how the lesson as A whole 
made us feel . We've listed some 
SC. 109. MS. Teacher and class of the surprises we found in it. 

Now as we check the lesson to see 
which of our questions were 
answered...and which ones we will 
need to explore further...let’s 
remember the two big questions that 
started us on our investigation. 





The teacher moves to an easel 
near the blackboard to display 
a poster with the questions: 


25 - 


M WHY HAS MAN WAITED SO LONG 
TO EXPLORE THE OCEAN DEPTHS?’* 

’’WHY NOW HAS HE SO ACTIVELY 
BEGUN?” 


SC. 110. INTERIOR. DAY. STUDIO. 
(CLASSROOM) 

CU. Poster bearing questions 


CAMERA in tight on first 
question. 

Cut to: 


SC. 111. INTERIOR. DAY. STUDIO. 
(CLASSROOM) 


CU: Poster bearing questions. 

CAMERA PANS DOWN to second 
question. 

Cut to: 


SC. 112. INTERIOR. DAY. STUDIO. 
(CLASSROOM) 

CU. The word ’’WHY?” on 
blackboard. Teacher writing. 
CAMERA pulls back to reveal 
teacher writing also: 


Knew - 

Felt - HYPOTHESIS 
Saw - 

Read - Guess 

”We think probably—” 

Observe - Explore - 
Experiment 

CAMERA moves in to tight shot 
of teacher’s hands demonstrat¬ 
ing scale. 

Lap dissolve to: 


TEACHER: (VO) Laura...will you 

read the first question! 

LAURA : (VO) Why has man waited 

so long to explore the ocean 
depths? 

TEACHER: (VO) Now, the second 

one...David...please. 

DAVID: (VO) Why...now...has 

he so actively begun? 

TEACHER: Yesterday, boys and girls 

out of everything we knew, had 
read, had seen, had felt...we 
built ourselves a guess...a 
hypothesis...a ”we think probably" 
answer to these two important why’s 
Now, we’re ready to check our guess 
against the facts as we find them 
in today’s television lesson... 
and elsewhere. We were saying, 
weren’t we, that when the forces 
FOR knowing and the forces AGAINST 







26 - 


TEACHER: (Continued) 

knowing are in balance...man*s 
learning stops. That meant, we 
decided, that scientific explora¬ 
tion stops. And we guessed that 
THAT was what had happened about 
the ocean. But we said further 
that something had tipped the 
scales toward knowing...and that 
there were two ways this could 
happen. 


SC. 


113. 


CU NARRATOR (IN HIS SPOT - SYNC) NARRATOR: (OS) Because her pupils 

are with her all day., and because 
time, space, and scheduling are 
more flexible in the elementary 
classroom situation, Mrs. Arnold 
is able to explore some subject 
areas in considerable depth, where 
she feels this is in the best 
interests of her class. Feeling 
that important insights were at 
stake here, she used these insights 
as a basis for long-range utiliza¬ 
tion of the television lesson in 

NOTE: Clothes change for 

everybody but the activities for the whole class 

Narrator. 

and for smaller groups. 





- 27 


SC. 114. INTERIOR CLASSROOM SET 
(Another Day) (SYNC) 
Balance Scale (constructed 
by artist - perhaps paper 
sculpture) made by Bryan. 
The hanging sides hold 
paper balls or pieces of 
colored posterboard marked 
with the specific feelings. 
Cut to: 


SC. 115. INTERIOR. DAY. STUDIO. 
(CLASSROOM) 

MCU. BRYAN with scales and 
book exhibit. As Bryan 
speaks, CAMERA EXPLORES this 
exhibit, which bears the 
slogan: WHAT TIPPED THE 

SCALES? 


CAMERA PULLS BACK AND PANS 
LEFT TO: 

ALICE...on other side of scales 
exhibit 

Alice picks up a large paper 
ball labeled NEED. 

She shows inside this large 
ball smaller balls labeled: 
Population explosion 
Depletion of land resources 
Def ense 


Alice demonstrates as she 
talks...lifting the colored 
paper balls cued to the 
narration...removing them 
from the scale. 


BRYAN: (SYNC) Either some feeling 

TOWARD knowing had been ADDED TO 
this side...making it heavier. 

Or some feeling AGAINST knowing 
had been TAKEN FROM this side... 
making it lighter. 

BRYAN: We asked ourselves what 

these things could have been...to 
bring on all the activity about 
the ocean. And to tell you what 
we guessed... here is another member 
of our Report and Exhibit Committee 
...Alice Black... 

ALICE: Well, we guessed that the 

feeling which had been added to 
the TOWARD knowing side of the 
scale was man's feeling of NEED... 
need for food...wealth...and 
security...brought on by the 
population explosion...the depletion 
of our resources on land...and 
danger of military attack. But 
some feelings had also been removed 
from the AGAINST knowing side of the 
scale, making it lighter. Fear and 
helplessness had been removed by 
new inventions which helped man 
to operate more successfully in 





- 28 - 


SC. 116. CU.NARRATOR (IN HIS 
SPOT - SYNC) 


SC. _ # MS. TEACHER AT DESK 

WATCHING PUPILS. (?) 

(NOTE TO DIRECTOR: This para¬ 
graph typed from memory. Please 
correct to exact wording which 
I gave you in Dallas. Am 
leaving scene numbers blank, 
so if you don f t have this shot 
of the teacher, your scenes 
will not be misnumbered. If 
you do have this scene, the 
NARRATOR goes VOICE-OVER AT 
THIS POINT.) 

Cut to: 


SC. . MS. BRYAN DISMANTLING 
SCALES EXHIBIT. PER¬ 
HAPS PACKING IT IN BOX. 
ALICE OBSERVING, 


ALICE : (Continued) 
the ocean depths. The aqualung, 
for instance. And the underwater 
deep«diving and exploration ves¬ 
sels. And hopelessness had been 
removed by new encouraging dis¬ 
coveries . 

NARRATOR (OS) : As interest in this 
new science area was widespread 
and enthusiasm was high, Mrs. 

Arnold took this opportunity to 
develop her pupils’ own special 
abilities to their fullest extent. 

Watching these pupils as each, 
in his own unique way, pursues his 
course into further learning, the 
teacher reflects on individual 
strengths and needs...and what these 
suggest for the future. 


TEACHER ; (VO) Bryan works best 
with other children. His hands lead 
his mind.••and we can depend upon 
him to demonstrate concretely... 
with artistic visuals...like the 





TEACHER ; (VO) (Continued) 



scales here...the abstract concepts 

toward which other children some¬ 
times move more quickly.„.taking 

Bryan with them. 

MS. ALICE DIS¬ 
AGREEING WITH OR 
CRITICIZING SOME¬ 
THING BRYAN IS 

SAYING OR DOING. 

TEACHER: (VO) Alice is our saddle^ 

burr...doubter...realist...sometime 

scoffer. We want to preserve her 

critical qualities. 0 .her "nose" for 

fallacies among the facts. 0 .while 

directing her reactions into more 

thoughtful and constructive channels 

TIGHT SHOT. SCOTT 

AT TABLE. ..WORKING ON 
POSTER. 

"SCIENCES IN THE SEA" 

TEACHER: (VO) Scott is our vacuum 

cleaner...adapted to garnering in¬ 
formation. He scoops up facts like 

a suction pipe harvesting fish. 

CU. (OVER-SHOULDER) 
SCOTT WORKING ON 

POSTER: "SCIENCES IN 
THE SEA." 

TEACHER: (VO) In his hands, this 

poster and the notebook he is pre¬ 
paring to go with it will provide 

a comprehensive resource for the 

other pupils...impressing upon the 

maker and the users the whole com~ 

plex of sciences represented in 

Oceanography. 






- 30 ~ 


CU e MOBILEo David’s TEACHER ; (VO) For David, words 

hands attaching to a 

hanging element that says are the Pied Pipers enticing him 
"Briny" another hanging 

element. CAMERA PULLS into a consideration of "how’s"... 

BACK as David reaches for 

a third hanging element. "why’s"„..and "what’s." 


TEACHER ; (VO) His "Cliche Mobile" 
makes David and all of us take a 
new look at the tired and pallid 
generalities we have mouthed so 


CU. MOBILE ELEMENT which 
says: "DEEP." Elements 
nearby contain information 
on depth of ocean...Mari¬ 
anas Trench..Continental 
Shelf. (SEE SPECIFIC 
MOBILE LIST.) 


MS. DAVID CHECKING NEXT 
STEP IN MOBILE. 


LS. CLASSROOM DOOR. 

Door opens. Laura enters, 
followed by custodian 
carrying heavy bronze 
statue, a drape of velvet, 
a painting. 


MS. LAURA DIRECTING 
CUSTODIAN TO TABLE ACROSS 
THE CLASSROOM. 


MLS. LAURA AND CUSTO- 
DIAN ARRIVING AT TABLE. 

He deposits his load 
and exits. Laura ar¬ 
ranges drape over statue. 
CAMERA PAND DOWN as she 
leans to prop painting 
on floor against front 
of table. PANS UP as 
she straightens. 


long about the vivid, vigorous, 
forever old, forever new ocean. 


NATURAL SOUND (SYNC) CLASS BACK¬ 
GROUND 


TEACHER ; (VO) Laura...the 
eternal feminine...who could 
coax a lobster out of his shell! 

TEACHER (VO) Laura vibrates to 
the present and the pleasant. 

The things she. can see, hold, 
touch, smell...especially if it 
has a hint of the theater about 
it. 






31 


SC, 


NOTE: 


SC, 


CU> LAURA, She is 
arranging some smaller 
art objects, :e a small 
vase,»„a small pot* *„ 
a decorated box, .some 
costume jewelry*..on 
the drape, CAMERA IN 
TIGHT on table slogan 
which reads: "DEEP OCEAN 
ART GALLERY, Treasures 
from Sunken Ships," 


TE ACHER % (VO) Laura’s older 
brother is the idol of her life. 
Small wonder that when Career Day 
at his high school happened to 
follow our television lesson, 
Laura decided we must have a 


Career Day of our own,,* in the 

ocean's depths. And only Laura 

could have wheedled, smiled, and 

pouted most of the class along 

Career Day will already in the wake of her project 

be set up at SC, 117 

'inspiration," 


CLASSROOM* WIDE ANGLE, 
One section of classroom 
only "Career Day" 
tables set up in class¬ 
room , GROCERY STORE with 
specialty foods from the 
sea, PHARMACY with io¬ 
dine, antibiotics, etc, 
MEN’S CLOTHING STORE with 
diving gear, CAMERA EX¬ 
PLORES these tables,oo 
continuing throughout 
Teacher’s dialogue c ,, 

ENDING AT table where 
boy in official looking 
uniform is talking to 
two visitors (from the 
members of the class,) 
Slogan on his table 
reads: "DEEP OCEAN 

CONTROL AUTHORITY, 

Legal Advice Available.," 


TEACHER ; (VO) This is a bit 
fancier than our activities 
usually get But the ocean for 
these landlocked children was a 
wonderfully stimulating place. 

For me their teacher, it pre¬ 
sented an unusual opportunity to 
move them toward insights into 
man’s motivations,».his visionary 
and practical natures,,,,his 
driving urge to impose his human 
stamp upon the world around him,,. 


to move them toward open-mindedness 


leavened with critical judgment,,, 
and responsible behavior* 




32 - 


C . , MLS o NARRATOR ENTERS 

FRAME, (Class and 
teacher in BG e ) 
NARRATOR TURNS TO 
CAMERA, 


CAMERA STARTS TO PULL BACK 
TO GET WIDEST SHOT OF CLASS- 
ROOM POSSIBLE, 

START END MUSIC HERE (BG 
LEVEL) 


FADE OUT MUSIC UP FULL ON 
LAST WORD. 


TEACHER % (VO) Television is a re¬ 
source which, in my experience as a 
classroom teacher, adds, 00 to our 
classroom* „.dimensions we could 
attain in no other way e 

TEACHER s (VO) Here at my finger 
tips is the invaluable help of my 
trained and talented colleagues who 
offer sound, carefully-planned 
learning materials of scope, impact, 
and immediacy. These are materials 
geared to our needs 0 ,..directed 
toward educational goals which l 00 , 
as a teacher, ., accept and value., 

NARRATOR % (SYNC) (TURNS TO CAMERA) 
In the learning experience you have 
just shared, television made ac¬ 
cessible to this teacher and her 
pupils information too recent to be 
available in textbookspresented 
in a way which could never be dupii«* 
eated. in the classroom., e . 

Yet oriented to the latest of class¬ 
room procedures* 

Ye.So„oThis is truly a learning e.nvi* 
ronment. It abounds in the resources 
from which lessons are made Among 
these resources is television....* 





now available ... Kit 5 

A CASE STUDY IN THE ELEMENTARY SCHOOL 

The fi Im in this kit shows how one sixth-grade teacher used a television 
lesson on oceanography to reinforce important science concepts, to 
introduce a broader area of understanding and to stimulate group and 
individual activities appropriate to the needsand interests of her partic¬ 
ular c lass. 

also available ... Kit 3 

PREPARING THE TELEVISION LESSON 

The film in this kit traces the preparation of an instructional television 
science lesson for the upper primary or lower intermediate grades. It 
demonstrates the steps involved in the.production of a program, the a- 
mount of time and care given to make this a lesson which can be u- 
tilized effectively in the classroom. 


■ • 

1 

II III 

■I! Ill 



N.A.E.B. 

N.A.E.B. 

NATION 

KITS 

DEMONSTRATION KITS 

DEMONSTRATH 

LIZING 


FOR UTILIZING 

FOR UTILIZING 

TIONAL 


INSTRUCTIONAL 

INSTRUCTIONA 

ION 


TELEVISION 

TELEVISION 

■ 

III 

■ mi ii 

II 1 


THE FILM 

Each kit contains a 16 mm sound film approximately 28 minutes in 
length. While the films make a complete presentation, they are in- 


THE MANUAL 

The teacher's manual contains information for both kits. It details how 
the films can be used and provides supplementary information for the 
group meetings. A copy of the manual will be sent to you at least two 
weeks prior to your use of the first kit so that you will have time to plan 
the teaching lessons. The manual will be returned with the kits. How¬ 
ever, if you wish to retain the teacher's manual for your library, it 
may be purchased for $2.50. 

SERVICE CHARGE 

There will be a $5.00 Service Charge for each kit which you wi 11 keep 
for a minimum of five days. Arrangements may be mads to use the kits 
longer. However, an additional fee of 50 cents per day wi 11 be charged . 



HOW TO OBTAIN 

There will be a limited number of copies of these kits available. The 
earliest orders received will be booked first. Place your orders as far 
ahead as possible, and wherever possible, give at least one alternative 
date. The kits will be sent prepaid, insured and are to be returned the 
same way. 


To order, write or call: 

N AE B Teaching Materials Library 
c/o K FME-TV/Channel 13 
Highway 81 South 
Fargo, North Dakota 58102 


This project sponsored by the National Association of Educational Broad¬ 
casters under a contractwith the United States Office ofEducation, De¬ 
partment of Health, Education and Welfare. 



NATIONAL ASSOCIATION OF EDUCATIONAL BROADCASTERS 

DEMONSTRATION KITS for utilizing 
Instructional Television 

PURPOSE OF KITS 

To provide a coordinated series of demonstration kits to assist teachers 
and broadcasters in developing effective patterns of instructional tel¬ 
evision utilization in elementary and secondary classrooms. 

HOW YOU CAN USE THESE KITS 

These kits have been designed for group use in teacher's meetings, 
workshops, seminars, and university education classes. Each kit con¬ 
tains a fi Im and a teacher's manual. Although each kit is self-sufficient 
and may be used individually, the materials have been designed as a 
coordinated whole. It is recommended that the kits be used in sequence. 






Scanned from the National Association of Educational Broadcasters Records 
at the Wisconsin Historical Society as part of 
"Unlocking the Airwaves: Revitalizing an Early Public and Educational Radio Collection." 


'oiTu> c KTwe 
\\KWAVEs 


A collaboration among the Maryland Institute for Technology in the Humanities, 
University of Wisconsin-Madison Department of Communication Arts, 
and Wisconsin Historical Society. 

Supported by a Humanities Collections and Reference Resources grant from 
the National Endowment for the Humanities 


I I T I—I MARYLAND INSTITUTE for 

I TECHNOLOGY in the HUMANITIES 



UNIVERSITY OF 

MARYLAND 



WISCONSIN 

HISTORICAL 

SOCIETY 





WISCONSIN 




NATIONAL ENDOWMENT FOR THE 


Humanities 


views, findings, conclusions, or recommendations expressed in this publication/collection do not necessarily reflect those of the 

National Endowment for the Humanities.